| id_film | id_section | id_section2 | id_section3 | title | title_es | title_en | title_orig | id_country1 | id_country2 | id_country3 | id_country4 | year_ | plot | synopsis_es | synopsis_en | tagline | duration | color | id_filmcolor | id_filmformat | director | id_director1 | id_director2 | id_director3 | id_director4 | id_director5 | id_director6 | id_director7 | id_director8 | id_director9 | id_director10 | id_director11 | id_director12 | id_director13 | id_director14 | id_genres_list | cast_ | prodteam | published | contact_title | contact_person | contact_address1 | contact_address2 | contact_zipcode | contact_city | contact_state | contact_id_country | contact_email1 | contact_email2 | contact_website | contact_phone1 | contact_phone2 | contact_fax | contact_info | id_youtube | url_ticket | filepic1 | filepic2 | filepic3 | filepic4 | filepic5 | filepic_logo | created_ts | updated_ts | id_event1 | id_event2 | id_event3 | id_event4 | duration_sec | tags | id_country5 | id_country6 | id_country7 | id_country8 |
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| 1 | 54 | NaN | NaN | No | NaN | NaN | NaN | 46 | 75 | 0 | 0 | 2012 | NaN | En plena dictadura chilena, un creativo publicitario consiguió que la campaña para enfrentar a Augusto Pinochet tuviese como puntales a la palabra “No” recortada contra un arcoíris y a un jingle cuyo estribillo repetía a modo de mantra: “Chile/ la alegría ya viene”. Esta es su historia… Si la reseña de la revista del cable terminara allí, la nueva película de Pablo Larraín (Tony Manero) ya merecería ser vista. Pero sucede que No cuenta, además, la estupidez prepotente de la derecha y la estupidez pedante de la izquierda, retrata a ese matrimonio de dogmáticos sin imaginación de un modo ejemplar, y pone en primer plano la idea de que la alegría puede ser, en determinadas circunstancias, la única vanguardia posible. Con una actuación extraordinaria de Gael García Bernal, con la participación de muchos de los personajes que hicieron posible que en aquel plebiscito de 1988 el “No” a Pinochet empezara a derrumbar la dictadura, con su imagen U-matic y su dulce, vital tristeza a cuestas, No es la gran obra maestra modesta de esta época. Marcelo Panozzo_x000D_\n | During the Chilean dictatorship, a copywriter managed to base the campaign that challenged Augusto Pinochet on the word “No” set against a rainbow backdrop, together with a jingle that repeated like a mantra: “Chile/the joy is coming”. This is his story… If this cable magazine review was to end there, that already would be enough reason to see the latest film by Pablo Larraín (Tony Manero). But as it happens, No also depicts the arrogant stupidity of the right wing and the pedantic stupidity of the left, drawing an exemplary portrait of that marriage of unimaginative dogmas, and focusing on the idea that joy can be, in some circumstances, the only possible vanguard. With an extraordinary performance by actor Gael García Bernal, the participation of many of the people who made it possible for the “No” to Pinochet to start tearing the dictatorship down in that 1988 plebiscite, an U-matic image, and the sweet, vital sadness it carries, No is the great modest masterpiece of this time. MP | NaN | 117 | NaN | 1 | 8 | NaN | 8 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Gael García Bernal, Alfredo Castro, Antonia Zegerz, Luis Gnecco, Marcial Tagle | D: Pablo Larraín _x000D_\nG: Pedro Peirano_x000D_\nF: Sergio Armstrong _x000D_\nDA: Estefanía Larraín_x000D_\nS: Miguel Hormazábal _x000D_\nP: Juan de Dios Larraín, Daniel Dreifuss _x000D_\nPE: Jeff Skoll, Jonathan King | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | Funny Balloons - Louis Balsan - 4 bis rue Saint Sauveur - 75002 Paris, France_x000D_\nT +33 1 4013 0586 / E sales@funny-balloons.com / W www.funny-balloons.com | 0PKKKJCMyKY | NaN | 513f4167271b2_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 14:51:00 | 2013-03-29 17:58:03 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 2 | 90 | NaN | NaN | La parte del león | NaN | The Lion’s Share | NaN | 13 | 0 | 0 | 0 | 1978 | NaN | (...) La historia muestra, paralelamente, la planificación y la ejecución de un asalto, y la vida cotidiana de un oscuro empleado que acaba de separarse de su mujer. Acorralados por la policía, los ladrones ocultan el botín en el tanque de agua del hotel en donde vive el empleado. Éste logra apoderarse del dinero (una cifra increíble aún para la inflación de nuestro dinero), pero la numeración de los billetes se da a conocer. Sólo queda, para este personaje, intentar conectarse con “los que están en la cosa” para cambiar los billetes por una cantidad menor. Los asaltantes, mientras tanto, han logrado individualizar al hombre y se lanzan a perseguirlo. (...) Toda la acción ha sido matemáticamente calculada por Aristarain, llevando la narración por un clima de suspenso angustiante que jamás se vio en el cine nacional, apoyándose para ello en un montaje notable, cuyas reglas el autor conoce al dedillo. (...) No es exagerado afirmar que desde este momento, la historia del cine nacional podrá dividirse en antes y después de La parte del león, un film que junto a Invasión de Hugo Santiago y la obra de Leonardo Favio se encuentra entre lo más sólido que ha dado nuestro cine. Ángel Faretta (“Sobresaliente film nacional” en Convicción, 5/10/1978) | (…) The story shows, in parallel, the planning and execution of a robbery and the everyday life of a gloomy working man who has just divorced his wife. Cornered by the police, the thieves hide the loot in the water tank of the hotel where the man lives. He takes away the money (an incredible amount even considering our inflation), but the serial numbers in the bills are made public. So, for this character, the only option is to get in touch with “people who know about these things” in order to trade the bills for a smaller amount of money. The robbers, in the meantime, have managed to identify him, and start to chase him. (…) All the action has been mathematically calculated by Aristarain, who brings the story up to an atmosphere of distressing suspense unseen before in Argentine cinema, using for it some remarkable editing, a work with rules the author knows by heart. (…) It’s not exaggerated to state that from this moment on, the history of Argentine cinema will be divided into before and after The Lion’s Share, a film that, together with Hugo Santiago’s Invasión and the work of Leonardo Favio, is among the most solid works of our cinema. AF (“Outstanding local film” in Convicción, 10/5/1978) | NaN | 85 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Julio de Grazia, Ulises Dumont, Arturo Maly, Julio Chaves, Luisina Brando | G: Adolfo Aristarain _x000D_\nF: Horacio Maira_x000D_\nE: Miguel Pérez _x000D_\nDA: Kathy Saavedra_x000D_\nS: Jorge Stavropulos _x000D_\nM: Aníbal Guart, Jorge Navarro _x000D_\nP: Jorge Cuomo_x000D_\nPE: Héctor Noli _x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130226 | la_parte_del_leon_1.jpg | NaN | NaN | NaN | NaN | 51434070c8eee_logo.jpg | 2013-03-12 14:54:14 | 2013-03-27 15:36:31 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 3 | 90 | NaN | NaN | La playa del amor | NaN | The Beach of Love | NaN | 13 | 0 | 0 | 0 | 1979 | NaN | (…) Cacho (Castaña) está preocupado porque su hermano menor (Ricardo Darín), quiere casarse. Con la intención de hacerlo cambiar de idea lo lleva con Antonio (Carlos del Burgo) a una playa, para que conozca a otras chicas y olvide a su novia. Durante su forzada permanencia cerca del mar, Ricardo comprenderá que aún es demasiado joven para casarse y se divertirá con distintas muchachas. Por su parte, Cacho y Antonio encontrarán en Andrea (Mónica Gonzaga) y Rosita (Stella Maris Lanzani) a quienes les harán cambiar de idea con respecto al matrimonio. Por otra parte, los diez playbacks impuestos con distintos cantantes no resultan forzados, se integran a la trama en forma coherente, ya sean las proyecciones filmadas en España con Camilo Sesto y Rocío Durcal; las actuaciones de Judy Cheeks y Angela Carrasco; el sueño de Cacho Castaña (muy bien realizado y con gran despliegue): la intervención de Katunga –en una secuencia que ironiza aquella recordable Escuela de sirenas, o las distintas escenas de la playa. (…) Jorge Abel Martin (La Opinión, 21/2/1980) | (…) Cacho (Castaña) is worried because his younger brother (Ricardo Darín) wants to get married. Trying to change his mind, he takes him along with Antonio (Carlos del Burgo) to a beach, so he will meet other women and forget about his girlfriend. During his forced stay by the ocean, Ricardo will realize he’s still too young to get married and will have fun with several girls. Also, Cacho and Antonio will meet Andrea (Mónica Gonzaga) and Rosita (Stella Maris Lanzani), who will make change their own minds about marriage. On the other side, the ten playback scenes featuring different singers are not forced into the plot, but rather integrate with it coherently, either the scenes shot in Spain with Camilo Sesto and Rocío Durcal, the performances by Judy Cheeks and Angela Carrasco, Cacho Castaña’s dream (very well shot and with high production value), Katunga’s intervention –in a sequence that laughs about that old scene from Bathing Beauty–, or the different beach scenes. (…) JAM (La Opinión, 2/21/1980) | NaN | 86 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Cacho Castaña, Ricardo Darín, Carlos del Burgo, Arturo Maly, Mónica Gonzaga | G: Gius, Adolfo Aristarain_x000D_\nF: Horacio Maira _x000D_\nE: Carlos Julio Piaggio_x000D_\nDA: Kathy Saavedra _x000D_\nS: Norberto Castronuovo_x000D_\nM: José Carli _x000D_\nP: Héctor Olivera, Fernando Ayala, Mario Kaminsky, Norberto Kaminsky_x000D_\nCP: Aries, Microfon _x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130231 | la_playa_del_amor_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:02:27 | 2013-03-27 15:38:12 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 4 | 90 | NaN | NaN | La discoteca del amor | NaN | The Disco of Love | NaN | 13 | 0 | 0 | 0 | 1980 | NaN | (…) Con el mismo ritmo, con la misma capacidad desenvuelta para la aventura, con los toques “negros” que manejara en La parte del león, La discoteca del amor es una fiesta ineludible que “Cachorro” habría saludado con toda la pasión y el éxtasis que un cinéfilo puede poner. Aquí también hay dos grupos rivales: el de los piratas de cassettes y el formado por un veterano detective privado, un aprendiz ayudante de éste, una pareja de disc-jockeys (la radio se llama El Dorado), una “rubia tonta” y su tío protector. El “asunto” es lo de menos, lo importante, como se sabe, es “cómo está hecho”. Aristarain ha recurrido a una situación parecida a la de los primeros films de Richard Quine de principios de los años cincuenta, con actores en estudios de radio y canciones, pero convirtiéndola en un homenaje a la Warner de los años cuarenta, James Cagney incluido. (…) La entrada de todo el clan en la pista de patinaje, con el acompañamiento musical de rigor, una de las escenas más impresionantes de la historia del cine argentino, nos está alertando sobre quién es hoy nuestro mayor cineasta en actividad. “Llamen a Thomas Gómez”. “Llamen a Adolfo Aristarain”. Rodrigo Tarruella (“No dejes de empujar Adolfo (Llamen a Thomas Gómez)” en El Amigo Americano Nº 1, 1980) | (…) Featuring the same rhythm, the same relaxed capacity for adventure, and the noir touches he used in The Lion’s Share, The Disco of Love is an unavoidable party “Cachorro” would have hailed to with all the passion and ecstasy a cinephile could express. Here, there are also two sets of rivals: the cassette pirates and the one formed by a veteran private detective, his apprentice, a disc-jockey couple (the station is called El Dorado), a dumb blonde, and her protective uncle. The “issue” doesn’t matter here, and the important thing, as we all know, is “how it was made”. Aristarain has drawn from a situation similar to the first films by Richard Quine in the early Fifties, with actors in radio studios and songs, but turning it into a tribute to 1940s Warner –James Cagney included. (…) The whole clan’s entrance into the skating track, with the proper music score, is one of the most impressive scenes in Argentine film history, and it warns us about who is today our biggest working filmmaker. “Call Thomas Gómez”. “Call Adolfo Aristarain”. RT (“Don’t stop pushing, Adolfo (Call Thomas Gómez)” in El Amigo Americano #1, 1980) | NaN | 90 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Cacho Castaña, Ricardo Darín, Carlos del Burgo, Arturo Maly, Tincho Zabala | G: Adolfo Aristarain _x000D_\nF: Horacio Maira_x000D_\nE: Carlos Julio Piaggio, Eduardo López_x000D_\nDA: Kathy Saavedra_x000D_\nS: Daniel Castronuovo_x000D_\nM: Emilio Kauderer_x000D_\nP: Héctor Olivera, Fernando Ayala, Mario Kaminsky, Norberto Kaminsky_x000D_\nCP: Aries, Microfon_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130214 | la_discoteca_del_amor_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:05:23 | 2013-03-27 15:34:05 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 5 | 90 | NaN | NaN | Tiempo de revancha | NaN | Revenge Time | NaN | 13 | 0 | 0 | 0 | 1981 | NaN | Como decíamos a propósito de La playa del amor, el cine de Aristarain se erige como un poema de la frustración, ya que sus protagonistas están signados por ella. Aunque por momentos parezca lo contrario, Tiempo de revancha no escapa a esta constante. Pedro Bengoa (Luppi) es un dinamitero con un pasado sindical y político, mamado desde chico al lado de su padre. Necesita dinero y acepta un puesto en el sur renegando de su anterior actividad, lo que le vale un insulto por parte de su progenitor. (…) Ve la posibilidad de salir de pobre fraguando un accidente que lo dejará “mudo” y poder así cobrar una suculenta indemnización. El resto es la actuación de Bengoa frente a la gente de la empresa, médicos, psiquiatras, mujer, y todo aquel que se le ponga adelante. (…) En una cinematografía que no maneja con idoneidad ningún género, Adolfo Aristarain se da el lujo de dividir su film en tres partes claramente diferenciadas, sin que por ello la obra pierda unidad. Comienza como algo político, sigue en un cierto tono de comedia para culminar brillantemente como un thriller. (…) Es la obra de un hombre para quien el cine ya no tiene secretos y que se dedica a hacer, como dijera un colega suyo (Ricardo Wulicher), “cine puro”. Roberto Pagés (“Otra vez la frustración como eje de un gran film” en Convicción, 31/7/1981)_x000D_\n | Like we used to say when talking about The Beach of Love, Aristarain’s cinema stands as a poem of frustration, since his main characters are marked by it. Even if sometimes it seems the opposite, Revenge Time falls into this constant. Pedro Bengoa (Luppi) is a dynamite expert with a history of union and political affiliation he got from his father since he was a kid. He needs money, so he takes a job in the South denying his former activities, which causes his father to insult him. (…) He sees the opportunity of stepping up from poverty by forging an accident that will render him “mute”, so he can collect a large compensation pay. The rest is Bengoa’s performance when faced with the company’s people, doctors, psychiatrists, his wife, and everyone he meets on the way. (…) In the context of a national cinema that is not used to suitably handling genres, Adolfo Aristarain can afford to divide his film in three clearly differentiated parts without losing its unity. It starts as a political thing, then continues with a kind of comedy tone and ends up, brilliantly, as a thriller. (…) It is the work of a man for whom cinema no longer holds any secrets, and who makes, as his colleague Ricardo Wulicher once said, “pure cinema”. RP (“Once again frustration is the axis of a great film” in Convicción, 7/31/1981)_x000D_\n | NaN | 112 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Federico Luppi, Julio de Grazia, Ulises Dumont, Haydée Padilla, Arturo Maly | G: Adolfo Aristarain _x000D_\nF: Horacio Maira_x000D_\nE: Eduardo López_x000D_\nDA: Abel Facello_x000D_\nS: Daniel Castronuovo_x000D_\nM: Emilio Kauderer_x000D_\nP: Héctor Olivera, Luis Osvaldo Repetto_x000D_\nCP: Aries_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130429 | tiempo_de_revancha_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:07:52 | 2013-03-27 16:42:04 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 6 | 90 | NaN | NaN | Los últimos días de la víctima | NaN | Last Days of the Victim | NaN | 13 | 0 | 0 | 0 | 1982 | NaN | (…) Mendizábal, el protagonista, es un asesino a sueldo cuya eficacia ha dependido de la limpieza y prontitud de sus trabajos. Una y otra vez la víctima ha sido el objeto que debe descartarse, sin necesidad de indagar por qué. Un día ocurrirá lo contrario: el imperativo de la investigación, el conocimiento del individuo y su entorno, de su guarida y sus mujeres. Desde que el hombre se complica en un juego de ajedrez se está viendo el rescoldo de humanidad no perdida, los márgenes de sus dudas, un trasfondo psicológico donde no faltan represiones. (…) El film está concebido como una marcha regular e inexorable de ese hombre que disimula sus insatisfacciones. Las características del personaje establecen diferencias de Últimos días de la víctima con sus predecesoras en una ya nítida trilogía. (…) Queda el contorno de amoralidad, la jungla del exitismo, otra vez como el retrato de una época y una sociedad para quienes sepan verlo o descubrirlo. En general, los seres que transitan por la película apenas sienten o viven, cumplen con la supervivencia a cualquier costo. Cuando así no es, ya no serán. (…) Jorge Miguel Couselo (“El cine negro, en clave argentina” en Clarín, 9/4/1982) | (…) Mendizábal, the main character, is a hitman whose efficiency has always been based on the cleanness and swiftness of his work. Once and again, the victim has been an object that needs to be discarded, with no need to ask why. One day, the opposite thing will happen: the obligation of investigating, of knowing the target and his environment, hideout, and women. Ever since we see the man in trouble at a chess game, we can see his lingering humanity, the margins of his doubts, a psychological background that lacks no repressions. (…) The film is conceived as a regular and inexorable march by this man who conceals his dissatisfactions. The character’s features set differences between Last Days of the Victim and its predecessors in a now clear trilogy. (…) What remains are the borders of amorality and the jungle of pursuing success, again, as the portrait of a time and a society, for those who are able to notice or discover it. All in all, the people that move through the film barely live or feel at all, surviving at any cost. When they don’t, they can be no more. (...) JMC (“Film noir, Argentine-style” in Clarín, 4/9/1982) | NaN | 90 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Federico Luppi, Ulises Dumont, Arturo Maly, Julio de Grazia, Soledad Silveyra | G: Adolfo Aristarain, José Pablo Feinmann_x000D_\nF: Horacio Maira_x000D_\nE: Eduardo López_x000D_\nDA: Abel Facello_x000D_\nS: Daniel Castronuovo_x000D_\nM: Emilio Kauderer_x000D_\nP: Héctor Olivera, Luis Osvaldo Repetto_x000D_\nCP: Aries_x000D_\n | 0 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | los_ultimos_dias_de_la_victima_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:09:37 | 2013-03-25 20:14:42 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 7 | 90 | NaN | NaN | Un lugar en el mundo | NaN | A Place in the World | NaN | 13 | 0 | 0 | 0 | 1991 | NaN | (...) Como se sabe, diez años distancian a Tiempo de revancha, película cumbre del autor, de este Un lugar en el mundo. Ambas obras tienen elementos comunes, empezando por el personaje que vuelve, con otra actitud pero con la misma entereza, a una lucha en la que, si no quiere darse por vencido, paradójicamente debe perder: su triunfo estará en ser consecuente consigo mismo. Como remarcando similitudes, los papeles de protagonista y antagonista son encarnados por los mismos actores de hace diez años. Pero a diferencia de Tiempo de revancha, que estaba llena de tensión y frases cortantes, Un lugar en el mundo tiene un ritmo aplacado, evocativo y más espacios de conversación. También tiene una mayor captación de la ambigüedad humana. (...) Con sus personajes, Aristarain refleja involuntaria y tangencialmente su propia evolución geográfica y mental, y habla a los sentimientos con emotividad limpia y buen rigor expositivo. La relación del niño con los padres, o con una niña de la que está enamorado e intenta enseñarle a leer; la alusión a tantos sueños del futuro mejor, y a tanto empeño real por mantener un presente menos peor, nos llegan con ejemplar pureza, destacable pudor. Paraná Sendrós (“Aristarain volvió con una película mayúscula” en Ámbito Financiero, 9/4/1992) | (…) As it is well known, ten years set apart Revenge Time, the height of the author’s work, from A Place in the World. The films have elements in common, starting with a character who returns, with a different attitude but the same integrity, to a fight in which he paradoxically must lose if he doesn’t want to cave: his triumph will depend on being consistent with himself. As if trying to underline the similarities, the main character and his antagonist are played by the same actors from ten years ago. But, unlike Revenge Time, which was filled with tension and sharp dialogue, A Place in the World runs on a more paced and evocative rhythm, with more room for conversation. Also, it captures human ambiguity better. (…) With its characters, Aristarain involuntarily and tangentially reflects his own geographic and mental evolution, and speaks to our feelings with a clean emotional tone and a good narrative rigor. The relationship of the kid with his parents or the girl he’s in love with and to whom he teaches how to read; the mentioning of so many dreams of a better future; and all that effort put into maintaining a present that is less worse, are all delivered to us with exemplary purity and remarkable modesty. PS (“Aristarain came back with a capital film” in Ámbito Financiero, 4/9/1992) | NaN | 120 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Federico Luppi, José Sacristán, Cecilia Roth, Leonor Benedetto, Rodolfo Ranni | G: Adolfo Aristarain, Kathy Saavedra_x000D_\nF: Ricardo de Angelis_x000D_\nE: Eduardo López_x000D_\nDA: Abel Facello_x000D_\nS: José Luis Díaz_x000D_\nM: Emilio Kauderer_x000D_\nP: Adolfo Aristarain, Osvaldo Papaleo_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130439 | un_lugar_en_el_mundo_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:11:07 | 2013-03-27 16:44:17 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 8 | 90 | NaN | NaN | La ley de la frontera | NaN | Border Law | NaN | 13 | 73 | 0 | 0 | 117 | NaN | (...) Una y otra vez, Aristarain ha repetido que para él no existe una película por encargo, en la medida en que se la pueda hacer propia. Eso es precisamente lo que ha conseguido con La ley de la frontera, un proyecto que le fue ofrecido de buenas a primeras, sobre un guion del autor gallego Miguel Murado, que Aristarain pudo reescribir y dirigir a su medida. La acción –y el término aquí es bien apropiado– tiene lugar en 1924, en la frontera entre Galicia y Portugal, una tierra bella y virgen, donde la ley y el orden todavía no han logrado imponerse, como en los westerns. En esas comarcas se encuentran Joao y Xan; uno es un vivillo portugués de buena familia, deseoso de vivir aventuras, que huye del seminario al que había sido confinado por sus padres; otro es un pobre gallego harto de picar piedras en las canteras, que se alista como legionario sólo para volver a escapar, con rumbo incierto. Ambos son fugitivos, uno del convento, otro de la milicia. En el camino tropiezan con una periodista, empeñada en conocer al más legendario bandido de la región, un ácrata apodado “El argentino” y que no es otro que Federico Luppi, el actor que desde Tiempo de revancha viene funcionando como una suerte de álter ego del propio Aristarain. Luciano Monteagudo (“Un romántico anarquismo” en Página/12, 24/8/1995) | (…) Aristarain has said over and over that for him there is no such thing as a commissioned film, because one can always appropriate it. That’s precisely what he accomplished with Border Law, a project that was offered to him out of the blue, with a script by Galician author Miguel Murado which Aristarain was allowed to rewrite and direct freely. The action –and the term here is appropriate– takes place in 1924, in the border between Galicia and Portugal, a beautiful and virgin land where law and order still haven’t managed to settle in, just like in a western. And then there’s Joao and Xan: one is a Portuguese scoundrel from a good family who is eager to have adventures; the other one is a poor Galician who is tired of smashing rocks at the quarries and enlists as a legionnaire only to escape again with no destination. They’re both fugitives, one from the convent and one from the military. On their way, they come across a female journalist who is determined to meet the most legendary bandit in the region, an anarchist known as The Argentine, played by none other than Federico Luppi, the actor who has been functioning as a sort of alter ego of Aristarain since Revenge Time. LM (“A romantic anarchism” in Página/12, 8/24/1995) | NaN | 117 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Pere Ponce, Achero Mañas, Aitana Sánchez Gijón, Federico Luppi, Fernando Valverde | D, G: Adolfo Aristarain _x000D_\nF: Porfirio Enríquez_x000D_\nE: Juan Aledo_x000D_\nDA: Abel Facello_x000D_\nM: Luis Mendo, Bernardo Fúster_x000D_\nCP: C.P.A., Shazam_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130219 | la_ley_de_la_frontera_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:12:44 | 2013-03-27 15:35:14 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 9 | 90 | NaN | NaN | Martín (Hache) | NaN | NaN | NaN | 13 | 73 | 0 | 0 | 1997 | NaN | Martín (Hache) duele en todo el cuerpo. Produce desasosiego. Nos abandona con un gran vacío interior. Y si el aspecto sombrío que la impregna no estuviera sostenido en un espléndido y riguroso lenguaje, en una lógica cargada de coherencia, el espectador no encontraría soporte y alivio. Es una historia de estos días. El director Aristarain ha reiterado que el tema nace del temor de un padre porque su hijo adolescente deje la casa y se tope contra el mundo. (...) Martín (padre) es un director argentino de cine con éxito en Madrid. Tiene un gran amigo, Dante, un madrileño drogadicto, homosexual confeso y bisexual de a ratos. Y cuenta con una novia maravillosa, Alicia, toda sinceridad, también adicta a la droga, pero desesperada por el desamor, la soledad y un irreconciliable desapego por la vida. En Buenos Aires, el hijo de Martín, Martín (Hache o hijo), llamado simplemente Hache, de diecinueve años, sin trabajo ni “horizontes”, viaja a encontrarse con su padre, tras la crisis de una sobredosis, voluntaria o no. Lo que sigue es el proceso de reconocimiento del padre y el hijo y la inmensa frustración en que acaba todo. (...) Claudio España (“Nobleza y rabia de la mano de Aristarain” en La Nación, 17/4/1997) | Martín (Hache) hurts all over your body. It makes you unease. It leaves you with a huge inner void. And if the somber look that impregnates it wasn’t sustained on a splendid and rigorous language in a very coherent logic, the spectator would not be able to find support and relief. It is a story of these times. Director Aristarain has said many times that the theme comes from a father’s fear of his teenage son leaving home and facing the world.(…) Martín (the father) is an Argentine filmmaker who succeeded in Spain. He has a great friend, Dante, a drug-addicted, openly homosexual and often bisexual guy from Madrid. He also has a wonderful girlfriend, Alicia, who is pure honesty and also addicted to drugs, but desperate due to unrequited love, loneliness, and an irreconcilable detachment from life. In Buenos Aires, Martín’s 19 year-old son Martín (Hache or junior) has no job or “prospects”, and he travels to join his father after a rather voluntary overdose crisis. What follows then is the father and son’s process of recognition and the immense frustration that remains in the end. (…) CE (“Nobleness and rage through Aristarain’s hand” in La Nación, 4/17/1997) | NaN | 130 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Federico Luppi, Eusebio Poncela, Juan Diego Botto, Cecilia Roth, Sancho Gracia | D, P: Adolfo Aristarain _x000D_\nG: Adolfo Aristarain, Kathy Saavedra_x000D_\nF: Porfirio Enríquez_x000D_\nE: Fernando Pardo_x000D_\nDA: Abel Facello_x000D_\nM: Fito Páez_x000D_\nCP: Tornasol Films_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130276 | 513f468178e10_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:13:48 | 2013-03-27 15:48:46 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 10 | 90 | NaN | NaN | Lugares comunes | NaN | Common Places | NaN | 13 | 73 | 0 | 0 | 2002 | NaN | (...) Este décimo largometraje de Aristarain es una desgarradora, impiadosa y desilusionada descripción del estado de las cosas en la Argentina, de la imparable decadencia económica y del éxodo masivo y, al mismo tiempo, una intensa, sentida y entrañable historia de amor a la que el director le imprime indudables rasgos autobiográficos. (...) El director de Últimos días de la víctima, Tiempo de revancha y Martín (Hache) se centra en la odisea personal de Fernando Robles (Federico Luppi), un sexagenario profesor de literatura huraño, contestatario y principista que –entre las desavenencias con el rector y los recortes presupuestarios– recibe una noticia de efectos devastadores: la jubilación anticipada. Casado con Liliana (Mercedes Sampietro), una encantadora mujer catalana que trabaja como asistente social en barrios marginales; y con su hijo y sus nietos radicados en España, Fernando se enfrenta al peor de los mundos posibles: pasa a integrar el ejército de argentinos descartados y descartables, sin presente ni futuro. (...) Diego Batlle (“Con la marca de Aristarain”, en La Nación, 12/9/2002) | (…) Aristarain’s tenth film is a heartbreaking, merciless and disillusioned depiction of the state of things in Argentina, with its unstoppable economic decadence and massive exodus; and at the same time, it’s an intense, heartfelt, and moving love story to which the director imprints elements that are undeniably autobiographical. (…) The director of Last Days of the Victim, Revenge Time, and Martín (Hache) focuses on the personal odyssey of Fernando Robles (Federico Luppi), an surly, opinionated, and righteous literature professor in his sixties who –due to budget cuts and him being in bad terms with the dean– receives some devastating news: early retirement. Married to Liliana (Mercedes Sampietro) –a lovely Catalonian woman who does social work in the slums– and with his son and grandsons living in Spain, Fernando faces the worse possible scenario: joining the army of discarded, disposable Argentines with no present or future. (...) DB (“With Aristarain’s trademark”, in La Nación, 9/12/2002) | NaN | 110 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Federico Luppi, Mercedes Sampietro, Arturo Puig | G: Adolfo Aristarain, Kathy Saavedra_x000D_\nF: Porfirio Enríquez_x000D_\nE: Fernando Pardo_x000D_\nDA: Abel Facello_x000D_\nP: Adolfo Aristarain, Gerardo Herrero_x000D_\nCP: Tornasol Films_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130259 | lugares_comunes_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:20:40 | 2013-03-27 15:44:18 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 11 | 90 | NaN | NaN | Roma | NaN | NaN | NaN | 13 | 73 | 0 | 0 | 2004 | NaN | (…) Muchos vieron en el nombre Roma, que es el de la madre del protagonista, un simple juego de espejos con la palabra amor. De hecho, tras ver el film –que sí, es un homenaje a la figura materna… también– se tiene la impresión de que esa Roma del título no es otra cosa que la Argentina. O bien, la decadencia de nuestro pequeño imperio. Sólo basta viajar con Aristarain a través del medio de siglo de historia que recorre el personaje para darse cuenta de que, si algo cuenta Roma, es una lenta y consecuente serie de pérdidas que van desde lo personal hasta lo general. El film comienza con Joaquín ya entrado en los sesenta, viviendo en España y tratando de empezar a escribir su nueva novela, la más difícil de todas: una suerte de recuento de su vida. (…) En una escena que tiene lugar en la Sala Lugones del Teatro San Martín, una chica le cuenta a Joaquín que John Ford decía que hacía westerns para sacarse de encima a los críticos molestos que querían indagar de más en su obra, pero que en realidad él era mucho más que eso. Pese a que la comparación pueda resultar una osadía, no hay duda de que la autorreferencia es clara. Y que Aristarain sigue siendo nuestro John Ford. Diego Lerer (“La decadencia del imperio” en Clarín, 15/4/2004) | (…) A lot of people thought the name Roma, the one of the main character’s mother, was merely a simple mirror game with the word amor (love). In fact, after seeing the film –which yes, it’s a tribute to a mother figure…as well– you get the impression that the Roma of the title is really Argentina –or rather, the decadence of our small empire. Travelling with Aristarain through the half-century of history the character experiences is enough to realize that if Roma is actually telling a story, it’s one about a slow and coherent series of losses that range from personal to general. The film starts with Joaquín well into his sixties as he lives in Spain and tries to start his new novel –the hardest one to write: a sort of recap of his life. (…) In a scene that takes place in the Lugones Cinema at the San Martín Theater, a girl tells Joaquín that John Ford used to say he made westerns just to get the annoying critics –those who wanted to analyze his work– off his back and he was actually much more than that. Although the comparison might be bold, there’s no question that the line was a self-reference. And that Aristarain is still our very own John Ford. DL (“The decadence of the empire” in Clarín, 4/15/2004) | NaN | 152 | NaN | 1 | 2 | NaN | 5 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Juan Diego Botto, Susú Pecoraro, José Sacristán | G: Adolfo Aristarain, Mario Camus, Kathy Saavedra_x000D_\nF: José Luis Alcaine_x000D_\nE: Fernando Pardo_x000D_\nDA: Jorge Ferrari, Juan Mario Roust_x000D_\nS: Daniel Goldstein, Ricardo Steinberg_x000D_\nP: José Antonio Felez, Adolfo Aristarain_x000D_\nCP: Tesela PC, Aristarain PC_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | e4XhC-vqsho | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130366 | roma_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:22:19 | 2013-03-27 16:22:36 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 68 | 124 | NaN | NaN | Montaña en sombra | NaN | Mountain in Shadow | NaN | 73 | 0 | 0 | 0 | 2012 | NaN | NaN | NaN | NaN | 14 | NaN | 1 | 11 | NaN | 22 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130098 | 513f6bc10dd28_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:51:50 | 2013-03-27 19:49:22 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 12 | 119 | NaN | NaN | The Day a Pig Fell into a Well | El día en que un cerdo cayó a un pozo | NaN | Daijiga umule pajinnal | 58 | 0 | 0 | 0 | 1996 | NaN | La primera película de Hong Sang-soo es la obra de un debutante con una seguridad pasmosa. En The Day a Pig Fell into a Well Hong cuenta historias conectadas sin necesidad de establecer su unión casi hasta el final. O, mejor dicho, los finales. En ese punto del film, tal como luego hizo en Virgin Stripped Bare by Her Bachelors, juega a modificar lo ya relatado. En este caso, el egoísmo violento de un escritor en caída libre, la doble frustración de una esposa infiel, el amor no correspondido de una ecléctica trabajadora y la desesperanza de un marido. Una buena dosis de pequeños absurdos recorre esta película atravesada por las firmes decisiones de un narrador tan omnipresente como sutil. _x000D_\n_x000D_\nJavier Porta Fouz | Hong Sang-soo’s first film is the work of a first-timer with astounding self-confidence. In The Day a Pig Fell into a Well, Hong tells connected stories without needing to establish their link until the end. Or, rather, the endings. At that point of the film, like he would later do in Virgin Stripped Bare by Her Bachelors, he plays at modifying what has already been told; here, the free-fall of a writer, an unfaithful wife’s double frustration, the unrequited love of an eclectic female worker, and a husband’s despair. A jolly good dose of little absurdities runs through this film filled with the firm decisions of an equally subtle and ever-present storyteller. _x000D_\n_x000D_\nJPF | NaN | 115 | NaN | 1 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Kim Eui-sung, Cho Eun-suk, Lee Eung-kyung, Song Kang-ho | G: Koo Hyo-seo_x000D_\nF: Cho Dong-kwan_x000D_\nE: Park Gok-ji_x000D_\nM: Ok Gil-sung_x000D_\nCP: Dong-a Export_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | Dong-a Export - Janice Chung_x000D_\nT +82 2 2008 4724 / E janiceee@nate.com | b5D9Z41tP5Y | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130411 | the_day_a_pig_fell_into_a_well_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:31:34 | 2013-03-27 16:38:02 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 13 | 119 | NaN | NaN | The Power of Kangwon Province | El poder de la provincia de Kangwon | NaN | Kangwon-do ui him | 58 | 0 | 0 | 0 | 1998 | NaN | Una de las ocho provincias históricas de Corea, Kangwon quedó partida en dos por el Paralelo 38 tras la guerra. La segunda película de Hong cifra en el nombre de esa región montañosa no sólo su tema, sino también su forma. En la primera mitad, Ji-sook, una chica que acaba de terminar su relación con un hombre casado, viaja con dos amigas a Kangwon. La segunda mitad del film sigue a Sang-woon, el hombre casado que rompió con Ji-sook. Hong juega con las simetrías y las diferencias entre los recorridos de esos ex amantes atravesados por la melancolía, dejando que el azar los conecte de maneras misteriosas. _x000D_\n_x000D_\nAgustín Masaedo | One of the eight historical provinces of Korea, Kangwon was split in half by the 38th Parallel after the war. Hong’s second film pins both its theme and form in the name of that mountain region. In the first half of the film, Ji-sook, a girl who has just ended her relationship with a married man, travels to Kangwon with two friends. The second half of the film follows Sang-woon, the married man who broke up with Ji-sook. Hong plays with the symmetries and differences between the paths of these two former lovers who are marked by melancholy, letting chance connect them in mysterious ways. _x000D_\n_x000D_\nAM | NaN | 108 | NaN | 1 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Baek Jong-hak, Oh Yun-hong | G: Hong Sang-soo_x000D_\nF: Kim Yeong-cheol_x000D_\nE: Hahm Sung-won_x000D_\nCP: Miracin Korea_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | ptrurx1pVAQ | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130419 | the_power_of_kangwon_province_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:33:43 | 2013-03-27 16:40:02 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 14 | 119 | NaN | NaN | Virgin Stripped Bare by Her Bachelors | Virgen desnudada por sus pretendientes | NaN | Oh-Su-jeong | 58 | 0 | 0 | 0 | 2000 | NaN | Si es verdad que toda relación entre un hombre y una mujer tiene dos partes, en el cine esa evidencia debe sumar a un tercer hombre: el señor director. Así, en su tercera película, Hong Sang-soo realiza una operación casi inaudita: toma un romance y lo cuenta dos veces. Pero no tanto desde uno y otro lado de la pareja, sino más bien desde un extraordinario punto de vista: el suyo. Como si hiciera una pausa a mitad del metraje para decir “uy, me olvidaba que...”, Hong empieza a contar su historia nuevamente, pero con amputaciones, novedades y vitales mutaciones. _x000D_\n_x000D_\nMarcelo Panozzo | If it is true that every relationship between a man and a woman has two sides, cinema adds a third one: the director’s. And so, in his third film, Hong Sang-soo carries out an almost unimaginable operation: he takes a love story and tells it twice. But he does so not from the viewpoints of each one of the characters, but from an extraordinary one: his own. As if pausing halfway through the film to say “oh, I forgot that...”, Hong starts to tell his story again, but this time with amputations, novelties, vital mutations. _x000D_\n_x000D_\nMP | NaN | 126 | NaN | 2 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Lee Eun-joo, Jung Bo-seok, Moon Sung-keun, Lee Hwang-eui | G: Hong Sang-soo_x000D_\nF: Choi Young-taek_x000D_\nE: Hahm Sung-won_x000D_\nS: Yim Dong-suk_x000D_\nM: Ok Gil-sung_x000D_\nP: Lee Yoo-jin_x000D_\nPE: Ahn Byung-joo_x000D_\nCP: Miracin Korea_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | W2SgS73gWpM | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130452 | virgin_stripped_bare_by_her_bachelors_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:36:40 | 2013-03-27 16:48:43 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 15 | 119 | NaN | NaN | Turning Gate | Puerta del retorno | NaN | Saenghwal ui balgyeon | 58 | 0 | 0 | 0 | 2003 | NaN | Contada desde la perspectiva de un joven actor que atraviesa dos aventuras amorosas sucesivas, Turning Gate es una nueva ocasión del director para explorar con método e inteligencia el modo en que operan las relaciones humanas. La empresa, que parece hoy fuera del alcance de la narrativa, no le queda grande a Hong Sang-soo. Su instrumento es una absoluta confianza en la verdad y en el cine como vehículo para exponerla sin dejarse cegar por las ilusiones ni tentarse por los caminos del sentimentalismo y la alegoría, sin buscar consuelo fácil ni incurrir en comentarios cínicos. _x000D_\n_x000D_\nQuintín | Told from the point of view of a young actor who undertakes two love affairs in a row, Turning Gate is a fresh opportunity for the director to explore, with method and intelligence, the way human relations operate. The endeavour, seemingly outside the scope of narrative, proves not to be too big for Hong Sang-soo. His tool is a complete trust in truth, and in cinema as a vehicle to display it without allowing illusions blind him or letting himself be tempted into the ways of sentimentalism and allegory, without looking for cheap consolation or stoop to cynical comments. _x000D_\n_x000D_\nQ | NaN | 115 | NaN | 1 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Kim Sang-kyung, Yea Ji-won, Chu Sang-mi | G: Hong Sang-soo_x000D_\nF: Choi Young-taek_x000D_\nE: Hahm Sung-won_x000D_\nS: An Sang-ho, Oh Won-chul_x000D_\nM: Won Il_x000D_\nP: Hanna Lee_x000D_\nPE: Ahn Byung-joo, Choi In-gi_x000D_\nCP: Miracin Korea | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130434 | turning_gate_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:46:54 | 2013-03-27 16:43:29 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 69 | 124 | NaN | NaN | Na vibración | NaN | Into Vibration | NaN | 73 | 0 | 0 | 0 | 2012 | NaN | NaN | NaN | NaN | 12 | NaN | 1 | 11 | NaN | 22 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130098 | na_vibracion_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:55:03 | 2013-03-27 19:51:21 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 16 | 55 | NaN | NaN | Au bout du conte | Al final del cuento | Under the Rainbow Al final del cuento | NaN | 82 | 0 | 0 | 0 | 2013 | NaN | ¿Cómo se cuenta hoy en día un cuento de hadas? ¡Contándolo! Esa es la decisión que parecen haber tomado los cada vez más rigurosos (¡y encantadores!) Agnès Jaoui y Jean-Pierre Bacri para su nueva aventura, un mosaico pasional en tiempo presente con remixes o sub-versiones de motivos cenicienteros o blancanievescos. El punto de partida y el de llegada pueden tener parecido con los cuentos de hadas tradicionales, incluso el elenco de personajes es muy fácil de ubicar en esos relatos, pero el recorrido es bien distinto y tiene que ver con esa tierra prohibida de la lectura: lo que sucede cuando un libro se cierra. ¿Cómo hacen para vivir felices por siempre? ¿Es posible? ¿No tienen miedos? ¿Fobias? ¿No se pelean? ¿No se cansan el uno del otro? A la vez, la película, con la fluidez y la sofisticación que AJ & JPB ya tienen como marca de fábrica, trabaja sobre la única fe posible para una persona racional: el amor es esa creencia que merece ser compartida. Marcelo Panozzo | How do you tell a fairy tale today? Just telling it! That’s the decision the growingly rigorous (and charming!) Agnès Jaoui and Jean-Pierre Bacri appear to have made in their new adventure, a passionate mosaic in present time with remixes or sub-versions of Cinderella and Snow White-like motives. The starting and finishing points may look like traditional fairy tales, and even the cast is easily relatable to these stories, but the path is very different and is connected to that forbidden land of the reading process: that which happens after you close the book. How do they manage to live happily forever after? Is it possible? Don’t they have fears? And phobias? Don’t they fight? Don’t they get tired of each other? With AJ & JPB trademark fluency and sophistication, the film also operates on the only possible faith a rational person can have: love is one belief that deserves to be shared. MP | NaN | 112 | NaN | 1 | 8 | NaN | 10 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Jean-Pierre Bacri, Agnès Jaoui, Agathe Bonitzer, Arthur Dupont, Benjamin Biolay | G: Agnès Jaoui, Jean-Pierre Bacri_x000D_\nF: Lubomir Bakchev / E: Fabrice Rouaud_x000D_\nDA: Thierry Rouxel / S: Jean-Pierre Duret_x000D_\nM: Fernando Fiszbein_x000D_\nP: Jean-Philippe Andraca, Christian Bérard_x000D_\nCP: Les Films A4, France 2 Cinéma, Memento Films Production, La Cinéfacture, Hérodiade | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | zEQ5HQwum5s | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130049 | au_bout_de_conte_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:48:19 | 2013-03-27 14:49:32 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 17 | 119 | NaN | NaN | Woman Is the Future of Man | La mujer es el futuro del hombre | NaN | Yeojaneun namjaui miraeda | 58 | 0 | 0 | 0 | 2004 | NaN | Un director de cine vuelve a Seúl en busca de un amigo a quien no ve hace tiempo. Más tarde, en un bar, recordarán a un antiguo amor compartido y decidirán ir a visitarla. Después de idas y vueltas, geográficas y temporales, el final encontrará a uno de los hombres solo en el medio de la calle, paralizado en algún lugar entre el presente, el pasado y el futuro. Su única esperanza de abandonar ese estado quizás sea la que indica el título. En este, su quinto film, se confirma una sospecha: es imposible que HSS dirija una película mala. _x000D_\n_x000D_\nMarcelo Alderete | A filmmaker goes back to Seoul searching for an old friend. Later, in a bar, they will remember an old shared love, and decide to visit her. After some comings and goings –in both space and time–, the ending will find one of the men alone in the middle of the street, paralyzed somewhere between the present, the past, and the future. His only hope of snapping out of that state might be the one pointed out in the title. With this one, his fifth film, we confirm a suspicion: it’s impossible for HSS to direct a bad film. _x000D_\n_x000D_\nMA | NaN | 88 | NaN | 1 | 4 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Yu Ji-tae, Kim Tae-woo, Sung Hyun-ah | G: Hong Sang-soo_x000D_\nF: Kim Hyung-koo_x000D_\nE: Hahm Sung-won_x000D_\nS: An Sang-ho_x000D_\nM: Jeong Yong-jin_x000D_\nP: Hanna Lee_x000D_\nCP: MK2, Unikorea, Miracin Korea_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | cIdDD5EYjO4 | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130453 | woman_is_the_future_of_man_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:49:04 | 2013-03-27 20:16:35 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 18 | 119 | NaN | NaN | Tale of Cinema | Cuento de cine | NaN | Geuk jang jeon | 58 | 82 | 0 | 0 | 2005 | NaN | Dong-soo es un director que sueña con hacer una película, una quimera que parece imposible hasta que al salir del cine se encuentra con Yong-shil, la actriz protagonista de una ficción sobre una pareja desesperada. En Tale of Cinema, el cine ya no es un mero pretexto argumental como lo era en su película anterior, Woman Is the Future of Man. Aquí, la mirada sobre el cine como apariencia se ha vuelto más intensa, autoreflexiva, llevando al límite la distancia entre la vida cotidiana y la que se ve en una pantalla. | Dong-soo is a director who dreams of making a film, a pipe dream that looks impossible until he meets Yong-shil –the star of a film about a desperate couple– while coming out of a theater. In Tale of Cinema, cinema is no longer a mere plot pretext like it was in Hong Sang-soo’s previous film, Woman Is the Future of Man.Here, the idea of film as an appearance has become more intense, more self-reflective, and pushes to the limit the distance between everyday life and the one we see on the screen. | NaN | 90 | NaN | 1 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Kim Sang-kyung, Lee Ki-woo, Uhm Ji-won | G: Hong Sang-soo_x000D_\nF: Kim Hyung-koo_x000D_\nE: Hahm Sung-won_x000D_\nS: An Sang-ho_x000D_\nM: Jeong Yong-jin_x000D_\nP: Marin Karmitz_x000D_\nPE: Choi Yong-bae_x000D_\nCP: Jeonwonsa, MK2, Arte France Cinéma | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | tjzOYJ8GP1s | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130398 | tale_of_cinema_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 15:50:44 | 2013-03-28 16:31:09 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 19 | 119 | NaN | NaN | Woman on the Beach | Mujer en la playa | NaN | Hae-byun-ui-yeo-in | 58 | 0 | 0 | 0 | 2006 | NaN | Un director de cine algo arrogante se retira a una playa para completar el guion de su próxima película. Lo acompaña un amigo y guionista, quien no tiene mejor idea que llevar consigo a una amiga. Un punto de partida muy francés que, con aires a Rohmer y con un tono sereno, conforma la película más accesible de Hong hasta la fecha. Y así como el agua en la orilla trae y lleva los más diversos objetos, la historia se llevará y traerá personajes, insinuando sutilmente que el triángulo amoroso podría ser la instancia natural de las relaciones humanas. Y que casi nunca conviene conocer a los cineastas que uno admira. _x000D_\n_x000D_\nLeandro Listorti | A somewhat arrogant film director retires to a beach to complete the script of his next film. With him goes a screenwriter friend, who has no better idea than to bring a friend along. A very French, Rohmer-like starting point and a serene tone make up for Hong’s most accessible film to date. And just like the sea washes up all kinds of objects, characters will ebb and flow, subtly implying that the threesome could be the natural state of human relations. And that it is hardly ever advisable to meet the filmmakers one admires. _x000D_\n_x000D_\nLL | NaN | 127 | NaN | 1 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Kim Seung-woo, Ko Hyun-joung, Kim Tae-woo, Song Sun-mi | G: Hong Sang-soo_x000D_\nF: Kim Hyung-koo_x000D_\nE: Hahm Sung-won_x000D_\nS: Lee Seung-chul_x000D_\nM: Jeong Yong-jin_x000D_\nP: Oh Jung-wan_x000D_\nPE: Jason Chae_x000D_\nCP: Bom Film Productions, Jeonwonsa, Mirovision | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130463 | woman_on_the_beach_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:02:14 | 2013-03-27 16:50:35 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 70 | 76 | NaN | NaN | Falls Burns Malone Fiddles | NaN | Falls Burns Malone Fiddles | NaN | 180 | 0 | 0 | 0 | 2004 | NaN | NaN | NaN | NaN | 33 | NaN | 3 | 4 | NaN | 28 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130056 | falls_burns_malone_fiddles_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:59:14 | 2013-03-28 15:52:28 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 20 | 119 | NaN | NaN | Night and Day | Noche y día | NaN | Ban gua nat | 58 | 0 | 0 | 0 | 2008 | NaN | Una placa nos informa al principio de Night and Day que al protagonista de la película lo agarraron fumando marihuana en Corea del Sur y tuvo que exiliarse en París para no tener problemas con la policía. ¿Cómo hay que tomarse esa placa? ¿Es un chiste? O, directamente: ¿cómo hay que tomarse la última película de Hong Sang-soo? Al igual que con muchas grandes películas, no es fácil definirla. Pero probemos: Night and Day es una de las comedias de enredos más desconcertantes, reposadas, secas, desencantadas y extrañamente felices de la historia del cine. _x000D_\n_x000D_\nEzequiel Schmoller | A disclaimer at the beginning of Night and Day informs us that the film’s protagonist got caught smoking marijuana in South Korea and had to exile to Paris to avoid problems with the police. How should we take this disclaimer? Is it a joke? Or, in other words: how should we take Hong Sang-soo’s latest film? As many great films, it’s not easy to label. But let’s try: Night and Day is one of the most disconcerting, quiet, sharp, disenchanted, and strangely happy screwball comedies in film history. _x000D_\n_x000D_\nES | NaN | 145 | NaN | 1 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Kim Young-ho, Park Eun-hye, Hwang Su-jung, Kee Joo-bong, Kim You-jin | G: Hong Sang-soo_x000D_\nF: Kim Hoon-kwang_x000D_\nE: Hahm Sung-won_x000D_\nS: An Sang-ho_x000D_\nM: Jeong Yong-jin_x000D_\nP: Oh Jung-wan_x000D_\nPE: Michel Cho_x000D_\nCP: Bom Film Productions | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | -uuwQa-OjPA | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130306 | night_and_day_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:04:22 | 2013-03-27 15:57:59 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 21 | 119 | NaN | NaN | Like You Know It All | Como si supieses todo | NaN | Jal aljido motamyunseo | 58 | 0 | 0 | 0 | 2009 | NaN | Si en Tale of Cinema el punto de partida era un director fracasado; y si en Woman on the Beach había otro director que manipulaba para terminar su guion y quedarse con la novia de su amigo; aquí el cineasta es uno “de arte y ensayo” convocado como jurado de un deslucido festival de cine. Pero, como es frecuente en el cine de HSS, esos comienzos son apenas un disparador para desplegar las siempre difíciles situaciones de entendimiento entre hombres y mujeres, en un plan donde los desencuentros y el azar son directamente proporcionales a las exactas y gozosas dosis de humor (muchas) y de tristeza (algunas). _x000D_\n_x000D_\nSergio Wolf | If Tale of Cinema’s starting point was an unsuccessful filmmaker; and if Woman on the Beach featured another director who manipulated things to finish his script and steal his friend’s girlfriend, here the director is one that makes “art films” and gets invited to join a jury in an unimpressive film festival. But, as it usually happens in HSS films, those beginnings are merely a trigger to display the always difficult circumstances of understanding between men and women, in a plan where mix-ups and chance are proportional to the precise and joyful dosages of comedy (a lot) and sadness (a few). _x000D_\n_x000D_\nSW | NaN | 126 | NaN | 1 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Kim Tae-woo, Uhm Ji-won, Ko Hyun-jung | G, PE: Hong Sang-soo_x000D_\nF: Kim Hoon-kwang_x000D_\nE: Hahm Sung-won_x000D_\nS: Kim Mir_x000D_\nM: Jeong Yong-jin_x000D_\nP: Honglee Yeon-jeong, Kim Kyoung-hee_x000D_\nCP: Jeonwonsa_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | _qhsD5V_Uw0 | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130250 | like_you_know_it_all_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:07:33 | 2013-03-27 15:41:36 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 22 | 119 | NaN | NaN | Visitors: Lost in the Mountains | Perdida en las montañas | NaN | Cheopcheopsanjung | 58 | 0 | 0 | 0 | 2009 | NaN | Después de una edición europea y otra africana, los tres cortos digitales que cada año produce el festival coreano de Jeonju volvieron en 2009, como tres años atrás, a quedar a cargo de realizadores asiáticos. Para el décimo aniversario del Festival, la amplia consigna de los cortometrajes fue “los visitantes”. En el episodio de Hong, se trata de una joven aspirante a escritora que viaja a Jeonju para ver a una amiga. Pero ésa es apenas la excusa del director para contar un doble triángulo amoroso (o rencoroso) en el envanecido mundillo literario, con la forma de una comedia pop tan hilarante como cáustica. _x000D_\n_x000D_\nAgustín Masaedo | Following its European and African versions, the three digital short films produced each year by the Jeonju film festival in Korea are back in the hands of Asian filmmakers, like in 2006. For the festival’s tenth anniversary the open assignment was “visitors”. In Hong’s episode, the visitor is a young aspiring writer travelling to Jeonju to meet a friend. But that’s just the director’s excuse to portray a double love (or hate) triangle within the vane literary world, in the form of a pop comedy as hilarious as caustic. _x000D_\n_x000D_\nAM | NaN | 31 | NaN | 1 | 4 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Jung Yu-mi, Moon Sung-keun | G: Hong Sang-soo_x000D_\nF: Kim Kwang-ho_x000D_\nE: Hahm Sung-won_x000D_\nP: Kim Kyoung-hee_x000D_\nCP: Jeonwonsa | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130453 | visitors_lost_in_the_mountains_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:09:41 | 2013-03-27 20:15:26 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 23 | 119 | NaN | NaN | Hahaha | NaN | NaN | NaN | 58 | 0 | 0 | 0 | 2009 | NaN | Con Hahaha, Hong reconoce que la screwball está condenada, antes que a ser ese clasicismo citado por impulso pavloviano más que por inteligencia, a atomizar la modernidad, a reducirla a escombros ridículos aunque sentidos. Escombros luminosos, imperfectos como esos zooms, bestiales como esas reacciones entre las parejas de Hahaha, omnipresentes como el mar de Tongyeong. Estival y cariñosa en su mirada, Hahaha dice que somos uno más imperfecto que el otro, sin importar cuál se compare con cuál. Y que eso es motivo de risa y, exploración mediante, de cine. _x000D_\n_x000D_\nJuan Manuel Domínguez | With Hahaha, Hong acknowledges that the screwball is doomed to be not so much the classicism people refer to –more out of Pavlovian impulse than insight– and rather an atomization of modernity that reduces it to ridiculous yet moving rubble. Luminous rubble, as imperfect as those zooms, as bestial as the reactions between Hahaha’s couples, omnipresent like the Tongyeong Sea. Summer-spirited and with a touching eye, Hahaha tells us we’re one more imperfect than the next, regardless which ones you choose to compare; and also that this is something that provokes laughter and, through exploration, creates cinema. _x000D_\n_x000D_\nJMD | NaN | 116 | NaN | 1 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Kim Sang-kyung, Yu Jun-sang, Moon So-ri | G: Hong Sang-soo_x000D_\nF: Park Hong-yeol_x000D_\nE: Hahm Sung-won_x000D_\nS: Kim Mir_x000D_\nM: Jeong Yong-jin_x000D_\nP: Kim Kyoung-hee_x000D_\nCP: Jeonwonsa | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | heY3n24x5b8 | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130473 | hahaha_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:11:35 | 2013-03-28 15:54:35 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 24 | 119 | NaN | NaN | Oki’s Movie | La película de Oki | NaN | Ok hui ui yeonghwa | 58 | 0 | 0 | 0 | 2010 | NaN | Al principio de la película, el profesor de cine le dice a su alumna que lo importante es encontrar la forma y el resto viene solo. Hong Sang-soo, uno de los (pocos) cineastas importantes del siglo XXI, desafía al espectador a identificar la forma de Oki’s Movie: ¿asistimos a uno de los característicos triángulos amorosos del director –narrado esta vez en cuatro partes– o a los cortometrajes que los personajes realizan en tanto cineastas? El resultado es sumamente misterioso, porque los personajes tienen un doble y el pasado y el futuro se reflejan en las pasiones de los otros. _x000D_\n_x000D_\nQuintín | In the beginning, a film teacher tells his student that the important thing is to find the form, and the rest will roll down from there. Hong Sang-soo, one of the (few) important filmmakers of the 21st century, challenges us to identify the form in Oki’s Movie: are we watching one of his typical love triangles –now told in four parts– or the short films the characters make as directors? The result is very mysterious, because characters have doubles, and the past and the present are both reflected on the passions of others. _x000D_\n_x000D_\nQ | NaN | 80 | NaN | 1 | 2 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Lee Sun-kyun, Jung Yu-mi, Moon Sung-keun | D, G: Hong Sang-soo_x000D_\nF: Park Hong-yeol, Jee Yune-jeong_x000D_\nE: Hahm Sung-won_x000D_\nS: Kim Mir_x000D_\nM: We Zong-yun_x000D_\nP: Kim Kyoung-hee_x000D_\nCP: Jeonwonsa | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | yDicY8AHdgI | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130324 | okirs_movie_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:13:24 | 2013-03-27 16:04:21 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 25 | 119 | NaN | NaN | The Day He Arrives | El día en que llega él | NaN | Book-chon bang-hyang | 58 | 0 | 0 | 0 | 2011 | NaN | Un cineasta llega a Seúl. Allí, tras una visita a una ex novia, se encuentra con un amigo y, junto a una amiga de éste, van a tomar algo a un bar. Allí aparecerá la dueña de ese establecimiento, que resulta ser muy parecida a la ex del protagonista y con la que nuestro héroe intentará “relacionarse”. Esto, en distintas versiones, sucede durante tres días seguidos, aunque al espectador nunca le queda claro si son tres días o tres “versiones” de la misma situación, porque ante cada nuevo encuentro nadie parece acordarse muy bien lo que sucedió en el anterior. _x000D_\n_x000D_\nDiego Lerer | A filmmaker arrives to Seoul. There, he visits an ex girlfriend, meets an old friend, and along with a friend of his they go to a bar. The three of them will meet the owner of this establishment, who looks a lot alike our main character’s ex with whom our hero will try to “relate”. This, in different versions, will take place along three concurrent days, although viewers will never know for certain if it’s three days or three versions of the same situation, because no character seems to remember what happened the day before. _x000D_\n_x000D_\nDL | NaN | 79 | NaN | 2 | 5 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Yu Jun-sang, Kim Sang-joong, Song Sun-mi, Kim Bok-yung | G: Hong Sang-soo_x000D_\nF: Kim Hyung-koo_x000D_\nE: Hahm Sung-won_x000D_\nS: Kim Mir_x000D_\nM: Jeong Yong-jin_x000D_\nP: Kim Kyoung-hee_x000D_\nCP: Jeonwonsa_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | C2BC_2DNoxk | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130412 | the_day_he_arrives_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:15:46 | 2013-03-27 16:38:22 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 26 | 119 | NaN | NaN | In Another Country | En otro país | NaN | Da-reun na-ra-e-suh | 58 | 0 | 0 | 0 | 2012 | NaN | En su primera película en inglés, Hong Sang-soo decide hacer fractal la luz que irradian, primero, su cine y, segundo, Isabelle Huppert. Prisma de sí mismo, Hong refracta a Huppert en tres relatos distintos, logrando iluminar nuevos rincones de cine. Eso sí: Huppert siempre será Anne. Y siempre estará de turista en un pueblito costero coreano. Y se cruzará con los mismos habitantes de ese pueblo. Cada Anne muestra cómo Hong, eterno cazador de halos luminosos, va viendo fulgores en esas relaciones, en esas derivas, en ese sentimiento surreal de ser extranjero (en un país, en el amor, en la vida). _x000D_\n_x000D_\nJuan Manuel Domínguez | On his first English-spoken film, Hong Sang-soo decides to take the light that both his cinema and Isabelle Huppert irradiate, and make it fractal. A prism of himself, Hong refracts Huppert in three different stories, managing to illuminate new corners of cinema. Yet, Huppert will always be Anne. And she will always be a tourist in a small Korean sea town. And she will come across the very same people from that town. Each Anne shows the way Hong, an eternal hunter of luminous halos, sees flashes in those relationships, those fleeing times, that surreal feeling of being a foreigner (in a country, in love, in life). _x000D_\n_x000D_\nJMD | NaN | 89 | NaN | 1 | 8 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Isabelle Huppert, Yu Jun-sang, Jung Yu-mi | G: Hong Sang-soo_x000D_\nF: Park Hong-yeol, Jee Yune-jeong_x000D_\nE: Hahm Sung-won_x000D_\nS: Kim Mir_x000D_\nM: Jeong Yong-jin_x000D_\nP: Kim Kyoung-hee_x000D_\nCP: Jeonwonsa | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | RL3VoUicnNo | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130185 | in_another_country_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:18:17 | 2013-03-27 15:24:00 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 27 | 119 | NaN | NaN | Nobody’s Daughter Haewon | Haewon la hija de nadie | NaN | Nugu-ui ttal-do anin Haewon | 58 | 0 | 0 | 0 | 2013 | NaN | En esta nueva serie de reflexiones sobre el deseo y las relaciones del maestro coreano, la protagonista es una mujer. Hong, al que se acusa de ocuparse sólo de personajes masculinos, se centró en una chica que debe despedirse de su madre, y luego tiene una serie de idas y vueltas amorosas con dos hombres. Cada encuentro está separado por la imagen de ella despertándose en una biblioteca, dando la impresión de que se trata de sueños. _x000D_\nNobody’s Daughter Haewon es más lineal que las recientes películas suyas y, pese a tener a una mujer como protagonista, mucho no cambió su manera de mirar a las personas: siguen siendo caprichosas, volátiles y tan simpáticas como potencialmente irritantes. _x000D_\n_x000D_\nDiego Lerer | In this new series of insights about desire and relationships by the Korean master, the main character is a woman. Hong, who is accused of only using male protagonists, focused on a girl who must say goodbye to her mother and then experiences a series of comings and goings with two men. Each encounter is separated by the image of her waking up in a library, giving the impression that these are just dreams._x000D_\nNobody’s Daughter Haewon is more lineal than his recent films, and although the main character is a woman, the way he sees people is not that different: they’re still capricious, volatile, and as nice as they are potentially irritating. _x000D_\n_x000D_\nDL | NaN | 90 | NaN | 1 | 8 | NaN | 12 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Jung Eun-chae, Lee Sun-kyun, Yu Jun-sang, Ye Ji-won, Kim Jaok | D, G: Hong Sang-soo_x000D_\nF: Kim Hyung-koo, Park Hong-yeol_x000D_\nE: Hahm Sung-won, Son Yeon-ji_x000D_\nS: Kim Yong-joo_x000D_\nM: Jeong Yong-jin_x000D_\nP: Kim Kyoung-hee_x000D_\nCP: Jeonwonsa | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | RQ-bbg12HAM | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130310 | nobodyrs_daughter_haewon_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:23:47 | 2013-03-27 15:59:05 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 71 | 76 | NaN | NaN | Bernadette | NaN | Bernadette | NaN | 180 | 0 | 0 | 0 | 2008 | NaN | NaN | NaN | NaN | 37 | NaN | 3 | 4 | NaN | 28 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130056 | 515059fda77b3_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:00:23 | 2013-03-27 18:55:43 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 28 | 3 | NaN | NaN | Metamorphosen | NaN | NaN | NaN | 4 | 0 | 0 | 0 | 2013 | NaN | En los Urales del Sur, lo que alguna vez fue Rusia, un nevado paisaje bucólico con algunos árboles hace pensar, con toda su quietud, en una fotografía más que en una película, pero algo late por debajo de esa aparente calma. Y es que allí, en septiembre de 1957, una nube oscura apareció amenazante en el cielo. Las aguas se convirtieron en una fuente inagotable de toxicidad, y los habitantes cercanos comenzaron a sufrir todo tipo de enfermedades y complicaciones físicas. Producto de incidentes en una planta nuclear en Rusia, que durante años fueron silenciados por el gobierno y que se acercan a los niveles de radiactividad de lugares como Chernobyl o Fukushima, contaminando una superficie de aproximadamente 20.000 km². Claves en el cine documental, la necesidad y la urgencia por registrar un lugar como este y a sus pobladores, tiene que ver con ese cambio imperceptible pero constante que sigue ocurriendo frente a la cámara. La metamorfosis es la del paisaje, la de los animales y la de los humanos que allí habitan. Es el cambio que se produce cuando parece que nada cambia. Leandro Listorti | On the Southern Urals, in what used to be Russia, a still and snowy bucolic landscape with a few trees evokes a photograph rather than a film, and yet something is pulsating beneath the apparent stillness. On September 1957, a threatening dark cloud appeared on the sky. The water became an endless source of toxicity and the nearby population started to suffer all kinds of diseases and physical problems. This was the result of incidents inside a nuclear power plant in Russia, which were silenced for years by the government and were close to the levels of radioactivity of Chernobyl or Fukushima, a contamination that extended for approximately 12,000 sq miles. The necessity and urgency –two key elements of documentary cinema– of registering such a place and its population is related to the imperceptible but constant changes that still take place today in front of the camera. The metamorphosis is the one of the landscape, the animals, and the people still living there. It’s the change that occurs when nothing seems to change. LL | NaN | 84 | NaN | 2 | 8 | NaN | 140 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Andrej Alexandrowitsch, Gilani Dambajew, Nail Fachrutdinow, Walentin Galusin | G, F, P, PE: Sebastian Mez _x000D_\nE: Katharina Fiedler_x000D_\nS, M: Levitate_x000D_\nCP: Filmakademie Baden-Württemberg_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | Oe_mfp_EHHo | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130282 | metamorphosen_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:26:26 | 2013-03-27 15:53:06 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 29 | 3 | NaN | NaN | Acá adentro | NaN | In Here | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | Adentro de la cabeza de David, un joven atribulado, dubitativo, neurótico. Muy neurótico. Bah, como si fuera un remix y una acumulación genuinamente local de cinco o seis personajes interpretados por Woody Allen. David es un joven porteño que vive en un departamento nada especial, pero nada. Valora su ventilador. No se levanta de la cama. Su novia medio que lo dejó. O lo dejó. Tiene que escribir, pero no. Piensa. Piensa. Piensa. La cabeza de David analiza todo, se baña. Analiza. Interpreta. Evalúa. No para de pensar y nosotros escuchamos sus pensamientos. Sobre la ducha, sobre el baño, sobre sus miedos (uf, son muchos), sobre la comida, sobre su novia o su no-novia, sobre su trabajo o su no-trabajo. Al fin sale a la calle. No falta un sueño, el psicoanalista, algún encuentro. Acá adentro es una ópera prima singular, una película sorprendente y con una cantidad de palabras tal vez récord para el cine argentino. Mateo Bendesky entiende que el humor necesita de neurosis y las busca de frente, con variantes y con velocidad. Y con un protagónico memorable –cómico, desesperante, exacto– de Iair Said. Javier Porta Fouz | Inside David’s lives a troubled, doubtful, neurotic young man. Very neurotic. Actually, he’s kind of a remix and genuinely local accumulation of five or six characters played by Woody Allen. David is a young man living in Buenos Aires, in a common, very common apartment. He loves his fan. He never gets out of bed. His girlfriend kind of dumped him. Well, she actually did. He has to write, but no. He thinks. He thinks. He thinks. David’s head analyzes everything. He takes a shower. He analyzes, interprets, assesses. He can’t stop thinking, and we can hear his thoughts about the shower, the bathroom, his fears (oof, he has a lot), his food, his girlfriend –or ex-friend–, and his job –or non-job. Finally, he goes out on the street. There’s also a dream, his analyst, a meeting. In Here is a singular and surprising first film featuring an amount of words that might set a new record for Argentine cinema. Mateo Bendesky is fully aware that comedy needs neurosis, and so he seeks them directly, with variants and speed. And a main character that is memorably played –funnily, desperately, and precisely– by Iair Said. JPF | NaN | 68 | NaN | 1 | 8 | NaN | 141 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Iair Said, Katia Szechtman, Martín Shanly, Cecilia Pertusi | D, G, P: Mateo Bendesky _x000D_\nF: Luis Andrade_x000D_\nE: Iara Rodríguez Vilardebó _x000D_\nS: Nahuel Palenque_x000D_\nCP: Universidad del Cine, Sandwich Club_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | tOAf3yBvdSk | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130023 | aca_adentro_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:30:59 | 2013-03-27 14:45:10 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 30 | 121 | NaN | NaN | No olvidar | NaN | Not to Forget | NaN | 46 | 0 | 0 | 0 | 1982 | NaN | En 1979 yo estaba en la Escuela de Cine y supe de una romería a los hornos de Lonquén. Fui, había mucha gente y fue la primera vez que vi a los familiares de detenidos desaparecidos con las fotos de sus deudos colgadas en sus pechos. Muchas mujeres de edad, madres. Me llamó la atención aquella marcha porque iba un grupo de gente que representaba un problema nuevo en Chile, el asesinato por parte de agentes del Estado. Y estando en la romería, me presentaron a la familia Maureira, que había perdido a cinco de sus miembros: la mamá perdió a su esposo y a cuatro de sus hijos. La conocí a ella y supe que iba todos los domingos a poner flores en los hornos, entonces los hornos se me figuraron como una animita gigante de Chile. Un mes después de filmar la caminata dinamitaron los hornos. Me pareció evidente que era un tema de memoria, era una acción para borrar lo que allí había ocurrido, era una censura a los hechos. Me dije que tenía que hacer una película que fuera vista y que quedara, entonces me puse a hacer una película en torno a los hornos, sobre los Maureira y las otras familias. _x000D_\n_x000D_\nIgnacio Agüero | In 1979, when I was still in Film School, I found out about a procession to the Lonquén ovens. I went, I saw a lot of people there, and that was the first time I saw the families of the disappeared detainees with the pictures of their relatives hanging from their necks. There were lots of old women –mothers. I was drawn to that demonstration because this was a group of people that represented a new problem in Chile: the murders at the hands of the State. And while being in the procession, I was introduced to the Maureira family, which had lost five of its members: the mother has lost her husband and four of her children. I met her, and learned she went every Sunday to the ovens to leave some flowers, and then I started to think of the ovens as a giant memorial stone of Chile. A month after shooting the procession, the ovens were dynamited. I saw that clearly this was an issue of memory, an action to erase what had happened there, a censorship of the facts. I told myself I needed to make a film that would be seen and would also remain, so I started making a film about the ovens, the Maureira, and the other families. _x000D_\n_x000D_\nIA | NaN | 30 | NaN | 1 | 11 | NaN | 15 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Elena Maureira, Corina Maureira, Cristina Maureira, Cristián Precht | G, PE: Ignacio Agüero _x000D_\nF: Cristián Lorca_x000D_\nE: Fernando Valenzuela_x000D_\nM: Jaime de Aguirre_x000D_\nP: Ignacio Agüero, Eugenio Ilona_x000D_\nCP: Grupo Memoria | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130222 | no_olvidar_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:31:35 | 2013-03-27 19:51:59 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 31 | 121 | NaN | NaN | Como me da la gana | NaN | The Way I Feel I Like It | NaN | 46 | 0 | 0 | 0 | 1985 | NaN | Las preguntas más sencillas son las más incómodas y, por lo tanto, las difíciles de responder. Esto queda claro desde el comienzo en Como me da la gana, película sobre cineastas en la que Ignacio Agüero le toma el pulso al milagro modesto de un puñado de rodajes que se produjeron en Chile en 1984 y 1985, cuando el cine, como muchas otras cosas, parecía destinado a desaparecer. Pero lejos de ser celebratorio, el film de Agüero es tremendamente incómodo, a partir de esas preguntas que el director (siempre en cuadro) les formula a sus colegas: “¿Por qué estás haciendo esta película?”, “¿quién crees que va a ver esta película?”. No hay una sola respuesta a la altura de la complejidad de las preguntas; todos –sin excepción– se escapan por la tangente de las buenas intenciones, el mandato y la identidad. En la primera de las entrevistas, Agüero le pregunta a Luis Vera qué tienen que ver los personajes de su película (mendigos) con él mismo, y el silencio y los balbuceos que recibe como respuesta son sencillamente atronadores. _x000D_\n_x000D_\nMarcelo Panozzo | The simplest questions are the most uncomfortable ones, and therefore the hardest ones to answer. This seems clear right from the start in The Way I Feel I Like It, a film about filmmakers in which Ignacio Agüero measures the pulse of a modest, miraculous handful of film shootings that took place in Chile between 1984 and 1985 –back when cinema, like many other things, seemed destined to disappear. But far from celebratory, Agüero’s film is tremendously uncomfortable, due to the questions the director (who is always in the shot) asks his colleagues: “Why are you making this film?”, “who do you think is going to see this film?”. None of the answers are up to the level of complexity of the questions; all of them –with no exception– go off at the tangents of good intentions, mandates, and identity. On the first interview Agüero asks Luis Vera what do the characters in his film (beggars) have to do with him, and the silence and mumbling he gets as an answer are simply thundering. _x000D_\n_x000D_\nMP | NaN | 30 | NaN | 1 | 11 | NaN | 15 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Andrés Racz, Tatiana Gaviola, Joaquín Eyzaguirre, Juan Carlos Bustamante, Patricio Bustamante | G, P, PE: Ignacio Agüero _x000D_\nF: Cristián Lorca_x000D_\nE: Fernando Valenzuela_x000D_\nM: Lucho Aránguiz_x000D_\nCP: Ignacio Agüero Producciones_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130084 | como_me_da_la_gana_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:33:49 | 2013-03-27 19:10:12 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 72 | 76 | NaN | NaN | Make It New John | NaN | Make It New John | NaN | 180 | 0 | 0 | 0 | 2009 | NaN | NaN | NaN | NaN | 55 | NaN | 3 | 4 | NaN | 28 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130044 | NaN | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:01:21 | 2013-03-27 19:45:21 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 32 | 3 | NaN | NaN | Leones | NaN | Lions | NaN | 13 | 82 | 166 | 0 | 2012 | NaN | Cinco adolescentes deambulan perdidos en un bosque. Dan vueltas, como en una suerte de laberinto imaginario que ellos mismos parecen configurar y del que no sabemos si realmente quieren o pueden salir, mientras se entretienen con juegos de palabras. Los problemas se presentan en los ejes del tiempo y del espacio: estos últimos parecen repetirse, no hay idea de avance ni de rumbo, y el tiempo aparentemente no transcurre, nunca llega la noche. Isabel es la única del grupo que percibe algo extraño. _x000D_\nPara plasmar esta extraña percepción espacio-temporal, Jazmín López, con gran sensibilidad y con una propuesta radical, trabaja las imágenes de manera plástica y cinematográfica –a través de largos planos secuencia y un gran trabajo de steadycam–, tensando los límites del lenguaje y jugando con él de modo tal que logra trasladarnos el interrogante acerca de las formas posibles de representación._x000D_\nEl audio de una grabación y haber encontrado el auto en el que el grupo de amigos viajaba hacen posible que Isabel comprenda las circunstancias del accidente que los ha llevado a esa trágica realidad, tan cercana a lo fantástico. Violeta Bava | Five teenagers wander in the woods. They move around as if they were in a sort of imaginary labyrinth they themselves appear to be defining –and from which we don’t know if they actually want or can leave– while they entertain themselves playing word games. Problems seem to be related to time and space: these ones seem to repeat themselves, and there’s no notion of forwardness or destination. Time is seemingly still, and nighttime never comes. Isabel is the only one in the group who perceives something is wrong. _x000D_\nIn order to set this weird space-time perception, Jazmín López’s great sensitivity and radical approach works on the images in a plastic and cinematographic way –through long sequence shots and a great steady-cam work– tensing the limits of language and playing with it in a way that poses us the question about the possible forms of representation. _x000D_\nA recording audio and the finding of the car the group was travelling both enable Isabel to comprehend the circumstances of the accident that led them to this tragic reality that is so close to fantasy. VB | NaN | 83 | NaN | 1 | 8 | NaN | 143 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Julia Volpato, Macarena del Corro, Pablo Siga, Diego Vegezzi, Tomás Mackinlay | G, DA: Jazmín López _x000D_\nF: Matías Mesa_x000D_\nE: Benjamín Domenech, Jazmín López_x000D_\nS: Julia Huberman _x000D_\nP: Benjamín Domenech, Santiago Gallelli, Felicitas Raffo, Andrés Longares, Jean des Forêts, Marleen Slot, Leontine Petit _x000D_\nPE: Benjamín Domenech, Santiago Gallelli, Felicitas Raffo, _x000D_\nAndrés Longares, Jean des Forêts, Marleen Slot, Leontine Petit _x000D_\nCP: Rei Cine, CEPA Audiovisual, Petit Film, Viking Films, Lemming Film_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130246 | leones_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:35:00 | 2013-03-27 15:40:10 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 33 | 121 | NaN | NaN | Cien niños esperando un tren | NaN | One Hundred Children Waiting for a Train | NaN | 46 | 0 | 0 | 0 | 1988 | NaN | Una película sobre la enseñanza y el rito. Sobre el aprehender. Sobre el rescate de la figura del maestro (Alicia Vega) de la mano de su discípulo (Ignacio Agüero). Realizado con austeridad y cariño, Cien niños... es un film tremendamente político, entrañable y conmovedor. La capilla Espíritu Santo da lugar, al finalizar la liturgia, a las sesiones del taller de cine para niños de escasos recursos que imparte Alicia Vega en la población Lo Hermida. Aquel lugar de refugio y encuentro en tiempos de represión militar se transformará en una gran sala de clases en donde los pequeños, en base a juegos artesanales y exhibiciones de películas, aprenderán la historia del cine mientras construyen su propia historia. Agüero entrevista a los niños y a sus familias, dando cuenta de sueños y de la situación política de Chile. Y entrevista a Alicia Vega, quien fue su maestra en la universidad y cuya pasión por la enseñanza se despliega e inunda la pantalla, transformándose en una suerte de evangelizadora del cine, cuyo conocimiento transmite a sus alumnos y éstos a sus padres. El cine y la educación al alcance de todos, sin importar esa pobreza que Agüero jamás muestra como miseria. _x000D_\n_x000D_\nRaúl Camargo | This is a film about teachings and its ritual. About learning. About the rescue of the teacher figure (Alicia Vega) by a disciple (Ignacio Agüero). Made with austerity and love, One Hundred... is a tremendously political, moving, and touching film. Once liturgy is over, the Holy Ghost chapel gives way to the film workshop classes Alicia Vega teaches in the neighborhood of Lo Hermida. That place of refuge and gathering in times of military repression will become a huge classroom where kids will learn the history of film while building their own history, through home-made games and film screenings. Agüero interviews the kids and their families, stand witness to their dreams as well as Chile’s political situation. And he interviews Alicia Vega, who was his teacher in college and whose passion for teaching spreads and fills up the screen, turning her into a sort of film preacher whose knowledge is transmitted to her students, who then pass it on to their parents. Cinema and education for everyone without minding the poverty, which Agüero never portrays as misery. _x000D_\n_x000D_\nRC | NaN | 56 | NaN | 1 | 11 | NaN | 15 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Alicia Vega | G, PE: Ignacio Agüero _x000D_\nF: Jorge Roth, Jaime Reyes_x000D_\nE: Fernan Valenzuela_x000D_\nM: Johann Sebastian Bach, Maurice Jaubert_x000D_\nP: Ignacio Agüero, Andrés Racz_x000D_\nCP: Ignacio Agüero Producciones_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130084 | cien_ninos_esperando_un_tren_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:35:31 | 2013-03-27 19:08:21 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 34 | 3 | NaN | NaN | Viola | NaN | NaN | NaN | 13 | 0 | 0 | 0 | 2012 | NaN | Chicas en modo conversación. Chicas en modo conversación sobre el amor. Chicas en modo conversación shakesperiana, porteña e intelectualizada sobre el amor. Chicas en modo Matías Piñeiro, que con El hombre robado, Todos mienten, Rosalinda y ahora Viola ha dado forma a una filmografía tan reconocible como destacada en el contexto del cine argentino. Aquí parte de Noche de reyes, y en un primer segmento se concentra en diálogos y ensayos bajo techo, con planos cercanos, para después seguir a Viola por las calles de Buenos Aires. Viola reparte películas grabadas en DVD, parte fundamental del trabajo de la “empresa pirata” Metrópolis que tiene con su novio Javier. Conexiones, coincidencias, encuentros, amor, diálogos. Concentrado en eso, y en hacerlo bien, con un encanto ligero y brillante para el comercio emocional, Piñeiro, un cineasta cada vez más confiado en sus recursos, sus temas y su estilo, hasta se permite dialogar con música en el cierre de su película. De todas maneras, todo el armado de Viola es musical, rítmico, grácil: el de Piñeiro es un cine que sabe combinar la estabilidad y la seguridad estilísticas con el movimiento perpetuo. Javier Porta Fouz | Girls in conversation mode. Girls talking about love. Girls talking about love in a Shakespearean, intellectual, and typically Buenos Aires way. Girls as seen by Matías Piñeiro, who has built himself a filmography as recognizable as outstanding in the context of Argentine cinema, with The Stolen Man, They All Lie, Rosalinda, and now Viola. Here, he starts with Twelfth Night and closes in on indoor dialogues and rehearsals on the first segment. Then, he follows Viola through the streets of Buenos Aires. She delivers films in copied DVDs, an essential task in the “pirate company” called Metropolis she owns together with her boyfriend Javier. Connections, coincidences, encounters, love, and dialogues. Concentrating on those things –on doing them right, with a light and brilliant touch for emotional trade– Piñeiro’s filmmaking proves to be growingly confident in its resources, themes, and style; and even allows itself to have a dialogue with music in the film’s ending. And yet Viola’s entire structure is musical, rhythmic, and graceful: Piñeiro’s cinema knows how to combine stylistic stability and confidence with perpetual motion. JPF | NaN | 65 | NaN | 1 | 8 | NaN | 145 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | María Villar, Agustina Muñoz, Elisa Carricajo, Romina Paula, Gabi Saidón | G: Matías Piñeiro _x000D_\nF: Fernando Lockett_x000D_\nE: Alejo Moguillansky _x000D_\nDA: Agustina Costa_x000D_\nS: Dana Ale, Emilio Iglesias, Francisco Pedemonte, Mercedes Tennina_x000D_\nM: John Aylward, Julián Tello_x000D_\nP: Melanie Schapiro _x000D_\nCP: Revolver Films | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | idcugrtIDVI | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130451 | viola_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:37:14 | 2013-03-27 16:48:23 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 35 | 121 | NaN | NaN | Sueños de hielo | NaN | Dreams of Ice | NaN | 46 | 0 | 0 | 0 | 1993 | NaN | “Pero ahí estaban. Yo ya las había visto, era lo que había soñado antes de partir. ¿Como podía ser que al final de mi viaje hubiera desembarcado en mi propio sueño? ¿Quién manejaba todo esto?”._x000D_\nEl texto pertenece a la más desconocida película de Ignacio Agüero, que inicia su viaje sirviéndose de un acontecimiento político-cultural: la Exposición Mundial de Sevilla 1992, donde Chile sorprende al mundo al llevar una gran escultura realizada con hielos milenarios transportados desde la Antártida. Lo que bajo la supervisión de un cineasta-funcionario hubiese sido una película institucional que vendiese la marca Chile, en manos de Agüero se transforma en la épica surreal y la historia íntima de un personaje que, en primera persona y en cámara subjetiva, narra la aventura cual caza de la ballena blanca transfigurada en iceberg. Pero ¿cuáles son las implicancias místicas de la profanación del inmaculado continente? Y, sobre todo ¿quién es este misterioso personaje narrador a quien no vemos? _x000D_\n_x000D_\nRaúl Camargo | “But there they were. I had already seen them; it was what I had dreamed about before leaving. How could it be that in the end of my trip I had disembarked in my own dream? Who was manipulating all this?”_x000D_\nThe text belongs to Ignacio Agüero’s most unknown film, in which he starts his journey using a political-cultural event: the World Fair in Seville ‘92, where Chile surprised the world by bringing a huge sculpture made with thousand year-old ice pieces transported from Antarctica. What would have been an institutional film to sell the Chile brand if made by a government-filmmaker, in the hands of Agüero becomes the surreal epic and intimate story of a character who –in the first person and with a subjective camera– narrates the adventure as if it was the hunt of a white whale in the shape of an iceberg. But, what are the mystical implications behind desecrating that immaculate continent? And, above all, who is this mysterious narrator character we can’t see? _x000D_\n_x000D_\nRC | NaN | 56 | NaN | 1 | 11 | NaN | 15 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | G, PE: Ignacio Agüero _x000D_\nF: José Luis Arredondo, Germán Liñero, Gastón Roca_x000D_\nE: Fernando Valenzuela_x000D_\nS: Mario Díaz_x000D_\nM: Bela Bartok, Maurice Ravel, José Alfredo Jiménez, Roberto Parra, Checho López_x000D_\nP: Ignacio Agüero, Andrés Racz_x000D_\nCP: La Mar Films | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130353 | suenos_de_hielo_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:37:52 | 2013-03-27 20:01:35 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 36 | 121 | NaN | NaN | Aquí se construye (o Ya no existe el lugar donde nací) | NaN | Under Construction (or The Place I Was Born No Longer Exists) | NaN | 46 | 0 | 0 | 0 | 2000 | NaN | Votada como una de las mejores películas del cine chileno de todos los tiempos, Aquí se construye es, a su vez, la culminación del cine documental de Ignacio Agüero, que para ese momento ya tenía casi dos décadas de vida. Fiel a su estilo improvisacional, en el que la cámara literalmente se topa con personajes y conflictos que instantáneamente pasan a formar parte del núcleo dramático del relato (la magia del sobre la marcha tan promulgado, pero pocas veces tan bien entendido), Agüero sale a la calle a registrar la masiva demolición de las casas del viejo Santiago y lo que en principio se adivina como un film sobre “lo viejo y lo nuevo” estalla por los aires en un panorama de 360° sobre la naturaleza de la especie humana circa 2000. Sí, hay decenas, cientos de películas dentro de los setenta y siete minutos de Aquí se construye. Lo asombroso es que Agüero, en un acto de visionaria despreocupación, deja que todas vivan un poco, se pisoteen y se contradigan, sin jamás descuidar su retrato de fondo sobre el Chile moderno, ruidoso e impávido que hace polvo su pasado. _x000D_\n_x000D_\nPablo Marín | Voted as one of the finest films in Chilean history, Under Construction is also the culmination of Ignacio Agüero’s documentary cinema, which by then was almost two decades old. Remaining true to his improvisational style, in which the camera literally bumps into characters and conflicts that instantly become part of the story’s dramatic core (that magical on the way approach that gets so promoted yet rarely understood so well), Agüero goes out on the streets to document the massive tear down of houses in old Santiago, and what first appears to be a film about “the old and the new” explodes into a 360º view of human nature circa 2000. Yes, there are dozens, hundreds of films inside the 77 minutes of Under Construction. The amazing thing is that Agüero, in an act of visionary lack of concern, leaves all of them breathe, step on each other and contradict one another without ever neglecting the portrait of a modern, noisy, and relaxed that destroys its own past Chile. _x000D_\n_x000D_\nPM | NaN | 77 | NaN | 1 | 11 | NaN | 15 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Guillermo Mann, Carmen Rubio, José Valdebenito, Oscar Lavoz, Adrián Mann | G, P, PE: Ignacio Agüero _x000D_\nF: Víctor Jiménez, Inti Briones_x000D_\nE: Sophie França_x000D_\nS: Miguel Hormazábal_x000D_\nM: Arvo Pärt_x000D_\nCP: Ignacio Agüero & Asoc. | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130043 | aqui_se_construye_o_ya_no_existe_el_lugar_donde_naci__1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:40:29 | 2013-03-27 14:48:50 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 37 | 121 | NaN | NaN | La mamá de mi abuela le contó a mi abuela | NaN | My Grandmother’s Mother Told My Grandmother | NaN | 46 | 0 | 0 | 0 | 2004 | NaN | En este excelente documental, Ignacio Agüero deconstruye los orígenes de la sociedad chilena. Con la excusa de indagar sobre el nacimiento del pueblo de Villa Alegre en la localidad de Lonconilla, Agüero pone en escena a sus propios protagonistas: no sólo los hace hablar validando la tradición del relato oral como fundante de una nación, sino que además los hace actuar en diferentes roles representado a sus antepasados que, en definitiva, no son más que ellos mismos. Mezcla de relatos míticos con leyendas urbanas, con historias verdaderas, con representaciones teatrales, Agüero construye su documental con un objetivo que logra con creces: contar la genealogía de una nación, construir el relato fundacional donde los amos, los indios, los patrones, los diablos, los trabajadores, los actores, los directores, los estudiantes forman el colectivo que supone la tradición. Con una aguda mirada política que no deja de lado lo militar ni lo religioso, La mamá de mi abuela… es un buen ejemplo del género documental contemporáneo. _x000D_\n_x000D_\nMarcela Gamberini | In this excellent documentary, Ignacio Agüero deconstructs the origins of Chilean society. With the excuse of inquiring about the birth of the Villa Alegre town in the state of Lonconilla, Agüero puts his own protagonists on the screen, and not only does he make them speak and validate the tradition of oral storytelling as a founding element of a nation, he also makes them play different roles, representing their ancestors who, in the end, are none other than themselves. Mixing mythical stories with urban legends, true stories, and staged representations, Agüero builds his documentary with an objective he fulfills with flying colors: narrating the genealogy of a nation, building a foundational story where masters, natives, landlords, demons, workers, actors, directors, and students all form the collective group that tradition is supposed to be. With a sharp political perspective that never undermines military or religious elements, My Grandmother’s Mother... is a fine example of the contemporary documentary genre. _x000D_\n_x000D_\nMG | NaN | 70 | NaN | 1 | 11 | NaN | 15 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Héctor Noguera, Antonio Valdés, Galo Amigo, Erasmo Muñoz, Hernán Castillo | G, P, PE: Ignacio Agüero _x000D_\nF: Inti Briones_x000D_\nE: Sophie França_x000D_\nS: Filmosonido_x000D_\nCP: Ignacio Agüero & Asoc._x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130222 | la_mama_de_mi_abuela_le_conto_a_mi_abuela_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:42:18 | 2013-03-27 19:35:07 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 38 | 3 | NaN | NaN | Soy mucho mejor que vos | NaN | Much Better Than You | NaN | 46 | 0 | 0 | 0 | 2013 | NaN | Soy mucho mejor que vos es un spin-off, o sea, un derivado de la ópera prima de Che Sandoval, Te creís la más linda (pero erís la más puta). Un personaje secundario de esa película es aquí el protagonista: Cristóbal, separado o en ese trance, cuarenta años, en crisis con la vida, con su familia, con su mujer que está a punto de irse a España con sus hijos y con una beca. Cristóbal se mueve por la noche y el día de Santiago con sus deseos de “afirmación como hombre”. Las películas de Che Sandoval –llenas de palabras bien dichas– están tituladas desde una aparente visión machista para revelarse como retratos del patetismo agonal masculino: un hombre en perpetua lucha y enfrentamiento con su mujer y las mujeres, y también con los otros hombres. Agresión disfrazada de seducción y conquista para evitar mirar hacia adentro. Otra vez las calles de la ciudad, otra vez una recorrida de fracaso en fracaso, otra vez un director que se juega por la comedia que desnuda a sus personajes a partir de diálogos y situaciones de elaborado barroquismo pero que se presentan con tanta precisión que suenan frescos, cercanos, creíbles. Javier Porta Fouz | Much Better Than You is a spin-off –that is, a derivate from Che Sandoval’s first film You Think You’re the Prettiest But You Are the Sluttiest. A secondary character from that story is now the lead here: Cristóbal, a forty-year old man who is separated (or is just about to) and on a personal crisis concerning his life, his family, his wife who is about to move to Spain with their kids, and a scholarship. Cristóbal goes through the night and day of Santiago with a wish of “reassuring himself as a man”. Che Sandoval’s films –filled with well-spoken words– are entitled with an apparently sexist vision, only to reveal themselves as portraits of an agonistic, pathetic male nature: a man in perpetual conflict struggling against both his wife and all women, but also other men. It is a type of aggression that’s disguised as seduction and conquest in order to avoid looking inside oneself. Once again, the city streets; once again, a tour from one failure to another; once again, a filmmaker who bets on the kind of comedy that strips off its characters through elaborately baroque dialogues and situations that nevertheless present themselves with so much precision that they sound fresh, close, and believable. JPF | NaN | 85 | NaN | 1 | 8 | NaN | 147 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Sebastián Brahm, Antonella Costa | G: Che Sandoval _x000D_\nF: Eduardo Bunster_x000D_\nE: Manuela Piña, Andrea Chignoli_x000D_\nDA: Javiera Espinosa _x000D_\nS: Gonzalo Ulloa_x000D_\nP: Soledad Santelices _x000D_\nCP: Caleidoscopio, Don Quijote Films, Punk on Palta, Darrel _x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | YGdDC2viI0A | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130384 | soy_mucho_mejor_que_vos_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:43:06 | 2013-03-27 16:30:28 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 39 | 121 | NaN | NaN | El diario de Agustín | NaN | Agustín’s Newspaper | NaN | 46 | 0 | 0 | 0 | 2008 | NaN | ¿Quién es realmente Agustín Edwards? ¿Cómo su diario, El Mercurio, se transformó en un agente político que estuvo detrás del derrocamiento del gobierno de Salvador Allende y, posteriormente, del ascenso de la dictadura militar de Augusto Pinochet? Ignacio Agüero se hace la pregunta y sigue a un grupo de estudiantes e investigadores de la Universidad de Chile para desentrañar el misterio. El Mercurio ha sido el diario más influyente y poderoso en toda la historia de Chile. Su rol durante la dictadura de Pinochet bien puede ser el tema más tabú de la historia chilena reciente. El diario de Agustín revela cómo desde sus páginas se desinformó, ocultó información y promovió la violación a los derechos humanos, en una especie de juicio pendiente al que comparecen agentes de la dictadura, directores y periodistas del diario, víctimas de la represión, sus familiares y abogados. Y eso la transforma en una película urgente. _x000D_\n_x000D_\nFIDOCS | Who is Agustín Edwards really? And how did his newspaper El Mercurio became a political agent behind the overthrowing of Salvador Allende’s government and the following rise of Augusto Pinochet’s military dictatorship? Ignacio Agüero poses the question and follows a group of students and researchers from the University of Chile in order to unravel the mystery. El Mercurio has been the most influential and powerful newspaper throughout the history of Chile. Its role during Pinochet’s dictatorship may very well be the most taboo subject in recent Chilean history. Agustín’s Newspaper reveals how the newspaper misinformed, concealed information, and promoted the violation of human rights, in a sort of pending trial for which the film summons agents of the dictatorship, the newspaper directors and journalists, victims of repression, their families and lawyers. And that makes this an imperious film. _x000D_\n_x000D_\nFIDOCS _x000D_\n | NaN | 80 | NaN | 1 | 11 | NaN | 15 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Arturo Fontaine, Manuel Antonio Garretón, John Dinges, Raquel Correa, Álvaro Puga | PE: Ignacio Agüero _x000D_\nG: Ignacio Agüero, Fernando Villagrán_x000D_\nF: Gabriel Díaz, Ricardo Lorca_x000D_\nE: Sophie França_x000D_\nS: Filmosonido_x000D_\nM: Giorgio Varas, Claudio López_x000D_\nP: Ignacio Agüero, Fernando Villagrán_x000D_\nCP: Ignacio Agüero & Asoc., Amazonia Films | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | MIZrbAYizG0 | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130124 | el_diario_de_agustin_1.jpg | NaN | NaN | NaN | NaN | 514340d4b0541_logo.jpg | 2013-03-12 16:44:38 | 2013-03-27 15:07:30 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 73 | 76 | NaN | NaN | Arbeit | NaN | NaN | Arbeit | 180 | 0 | 0 | 0 | 2011 | NaN | NaN | NaN | NaN | 39 | NaN | 2 | 11 | NaN | 28 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130044 | 515059e7c46f9_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:02:34 | 2013-03-27 18:48:22 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 40 | 121 | NaN | NaN | El otro día | NaN | The Other Day | NaN | 46 | 0 | 0 | 0 | 2012 | NaN | “Según se sabe, en latín las palabras inventar y descubrir son sinónimas”. La cita de Borges es puesta en práctica por Agüero con un film construido en su Aleph particular: su propia casa, fuente de historias familiares, pero que a su vez se abre a la historia del país y, a través de un simple y original dispositivo, a la de sus habitantes. El cineasta chileno buscaba hacer una película que emergiese con sólo abrir su puerta. Y así lo hace: mientras recuerda y nos cuenta su vida y la de su entorno más cercano, va enlazando su relato con la historia de un Chile cuyo modo de vivir fue cambiado abruptamente. Pero esta evocación, esta urdimbre íntima y política se verá interrumpida una y otra vez por una serie de personas que tocan a la puerta de su hogar. ¿Quiénes son ellos? ¿Cuáles son sus historias? Geometría y misterio se llamaba originalmente esta fascinante película con que Agüero, con la sabiduría de quien no se cree maestro pese a serlo, nos recuerda que el cine siempre será nuestro hogar. _x000D_\n_x000D_\nRaúl Camargo | “As it is generally known, in Latin the words inventing and discovering are synonyms”. Agüero puts into practice this quote by Borges with a film that is built on his own particular Aleph: his home, a source of family stories that also opens up to the country’s history and –through a simple yet original mechanism– to its inhabitants. The Chilean filmmaker was looking to make a film that would result from just opening his front door. And so he does: as he remembers and tells us about his life and the people close to him, he connects his story with the history of Chile, a country where the lifestyle was abruptly modified. But this evoking, this intimate and political intrigue will be interrupted over and over again by a series of people who knock on the door of his house. Who are they? What are their stories? Geometry and Mystery was the original title for this fascinating film with which Agüero –a man with the wisdom of those who don’t see themselves as teachers although they actually are– reminds us that cinema will always be our home. _x000D_\n_x000D_\nRC_x000D_\n | NaN | 122 | NaN | 1 | 8 | NaN | 15 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Manuel Valenzuela, Verónica Astorga, Estibaliz Uzabeaga, René Carabante, Isabel Fuentes | G, P, PE: Ignacio Agüero _x000D_\nF: Ignacio Agüero, Arnaldo Rodríguez, Gabriel Díaz, Claudia Serrano_x000D_\nE, S: Sophie França_x000D_\nM: Johann Sebastian Bach, Ludwig van Beethoven_x000D_\nCP: Ignacio Agüero & Asoc., Suricato_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | sJ0lt43o9UA | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130129 | el_otro_dia_1.jpg | NaN | NaN | NaN | NaN | 514340ea3005f_logo.jpg | 2013-03-12 16:46:31 | 2013-03-27 15:09:23 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 41 | 3 | NaN | NaN | Dime quién era Sanchicorrota | NaN | Tell Me About Sanchicorrota | NaN | 73 | 0 | 0 | 0 | 2013 | NaN | Así es cómo se imprimen las leyendas, con mucha confusión. Cada uno transmite el relato oral tal y como lo escuchó de boca de sus mayores; si ese día está de humor quizás añada algo de su propia cosecha, y en un radio de escasos kilómetros el mito pasará a tener una multiformidad delirante plagada de datos contradictorios con, eso sí, algunas hazañas recurrentes que se repiten a modo de estribillo. Jorge Tur viaja al parque de las Bardenas, Navarra, y allí hace una pregunta bien sencilla a sus habitantes: ¿quién era Sanchicorrota? ¿El bandolero del siglo XV que desvalijaba a los ricos y compartía con los pobres? ¿El bandido cortés? ¿El seductor? ¿El delincuente ingenioso? ¿El ladrón noble e inquebrantable que decidió suicidarse antes que perder la libertad? Con un endiablado sentido del humor y gesto sanamente desmitificador, Tur encara una cuestión tan compleja y sobreexpuesta como la memoria colectiva. El inesperado hallazgo de unos esqueletos en una cabaña mudará el tono de los testimonios y de la propia película, trasladando el film a la historia reciente de las Bardenas, a un pasado cercano y doloroso como una herida abierta para varias generaciones. Fran Gayo | That’s how legends are printed: with a lot of confusion. Each person transmits an oral tale as they heard it from the mouth of their elders. If they’re in the proper mood that day, they might add something of their own to it, and in a radius of just a few kilometers it will end up with a crazy multiple shape plagued with contradictory data that, yes, will also have some recurrent feats that repeat like a chorus. Jorge Tur travels to the Bardenas Park in Navarra and poses a very simple question to its people: who was Sanchicorrota? The 15th century outlaw who robbed the rich and shared the loot with the poor? The polite bandit? The seducer? The clever criminal? The noble and unbreakable thief who preferred suicide to imprisonment? With a devilish sense of humor and a healthy demythologizing manner, Tur addresses the complex and overexposed issue of collective memory. The unexpected finding of some skeletons in a cabin will shift the tone of the testimonies and the film itself, moving it towards the recent history of the Bardenas, a past that is near and painful like an open wound for several generations. FG | NaN | 63 | NaN | 1 | 5 | NaN | 148 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | F: Jorge Tur Moltó_x000D_\nG: Jorge Tur Moltó, Virginia García del Pino_x000D_\nE: Virginia García del Pino _x000D_\nS: Eduardo Durand_x000D_\nCP: Fundación INAAC | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | ijRWKdhp5pg | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130109 | dime_quien_era_sanchicorrota_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:46:46 | 2013-03-27 15:00:57 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 42 | 3 | NaN | NaN | Los ilusos | NaN | The Wishful Thinkers | NaN | 73 | 0 | 0 | 0 | 2013 | NaN | Así es la vida de León, cineasta iluso, entre la filmación de una película y su siguiente proyecto: una especie de limbo, un continuo postergar, alguna frustración de baja intensidad, escaramuzas amorosas, conversaciones, cafés, borracheras, clases, conciertos, paseos... pero todo ello en tono de espera, con el tempo particular que los días tienen cuando simplemente dejas que vayan sucediendo y lo importante está por llegar aún. _x000D_\nLos ilusos es, se nos anuncia en sus primeros compases, una película de entretiempo. Pero además de eso, funciona también como un tratado sobre el fino arte del deambular por una gran ciudad como Madrid (retratada con un cautivador blanco y negro por Santiago Racaj), sobre la bohemia, la juventud y la amistad. Tras Todas las canciones hablan de mí, Jonás Trueba alcanza aquí una repentina y deslumbrante obra de madurez, y demuestra conocer el secreto para filmar el presente con una carga de nostalgia poderosa, capaz de transformarlo inmediatamente en recuerdos que asumimos como propios. Fran Gayo | This is the life of naïve filmmaker Leon at the time when he’s between a film shooting and his next project –a sort of limbo with an endless postponing of things, some low-key frustration, love quarrels, conversations, coffees, drunkenness, classes, concerts, and walks... But all those things are in a waiting tone, with the particular tempo days usually have when you simply let them pass and the important things are yet to come._x000D_\nThe Wishful Thinkers is –as we’re told in its first bars– an intermission film. But apart from that, it also works as a treaty about the fine art of wandering around a big city like Madrid (portrayed in a captivating black and white by Santiago Racaj), and about bohemian life, youth, and friendship. Following Every Song Is About Me, Jonás Trueba delivers here a sudden and dazzling mature film, proving he knows the secret for filming the present, with such a powerful nostalgic drive that it can instantly transform it into memories we assume as our own. FG | NaN | 93 | NaN | 2 | 8 | NaN | 150 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Francesco Carril, Aura Garrido, Vito Sanz, Mikele Urroz, Isabelle Stoffel | G: Jonás Trueba _x000D_\nF: Santiago Racaj_x000D_\nE: Marta Velasco _x000D_\nDA: Miguel Ángel Rebollo_x000D_\nS: Víctor Puertas, Eduardo G. Castro_x000D_\nM: Abel Hernández “El Hijo” _x000D_\nP: Javier Lafuente, Jonás Trueba _x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | 09MPf1ASGlg | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130254 | los_ilusos_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:49:56 | 2013-03-27 15:42:54 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 43 | 121 | NaN | NaN | Qué historia es ésta y cuál es su final | NaN | What Is This Story and How Does It End | NaN | 46 | 0 | 0 | 0 | 2013 | NaN | Dos películas en este Bafici tienen como protagonista a la casa de Ignacio Agüero. La casa en la que vive hoy, en el barrio de Providencia, Santiago de Chile, fue el disparador de El otro día, su último film. Y a su vez, El otro día en particular y las casas en las que vivió Agüero a lo largo de los años, en general, parecen haber puesto la piedra basal para Qué historia es esta y cuál es su final, un repaso de la obra del director realizado en clave de homenaje por José Luis Torres Leiva. “Trataré de que la escarcha cubra mi pasado”, dice el poema “¿Qué historia es esta?”, de Jorge Teillier, y la operación de Torres Leiva no va exactamente en sentido contrario, sino que apuesta a revelar la tensión que puede producirse entre esa escarcha, la de la memoria de quien revisa una caja de fotos viejas, y la memoria del cine, aquello que Agüero registró de una manera y acaso recuerde de otra. Qué historia es esta y cuál es su final puede ser prólogo o epílogo para esta retrospectiva. En cualquier caso, lo que revela con claridad es cuál es el sendero elegido por Ignacio Agüero para caminar por estos tiempos. _x000D_\n_x000D_\nMarcelo Panozzo | Two films programmed in this edition of Bafici are starred by Ignacio Agüero’s house. It’s the house where he lives today, in the Providencia neighborhood in Santiago de Chile, that was the trigger for The Other Day, his latest film. And both The Other Day and the houses where Agüero lived throughout the years seem to have placed the founding stone for What Is This Story and How Does It End, a recap of the filmmaker’s body of work made as a tribute by José Luis Torres Leiva. “I’ll try to cover my past with the frost”, reads the poem “What Is This Story” by Jorge Teillier, and Torres Leiva’s operation doesn’t go the opposite way; instead, it attempts to reveal the tension between that frost in the memory of someone who is looking at old pictures, and the memory of cinema; the things Agüero documented in one way and perhaps remembers in another. What Is This Story and How Does It End could be either the prologue or the epilogue of this retrospective. In any case, it clearly reveals the path Ignacio Agüero has chosen to walk through these times. _x000D_\n_x000D_\nMP | NaN | 50 | NaN | 1 | 11 | NaN | 197 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Ignacio Agüero, Sophie Franca | G, E: José Luis Torres Leiva _x000D_\nF: Guillermo González_x000D_\nP: Paulina Ferretti_x000D_\nPE: Patricio Muñoz G._x000D_\nCP: dereojo comunicaciones | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130353 | que_historia_es_esta_y_cual_es_su_final_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:51:05 | 2013-03-27 19:57:14 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 74 | 76 | NaN | NaN | Belfast Trio | NaN | Belfast Trio | NaN | 180 | 75 | 0 | 0 | 2009 | NaN | NaN | NaN | NaN | 9 | NaN | 1 | 4 | NaN | 29 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130053 | 51505a3ebd470_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:03:54 | 2013-03-27 18:54:59 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 44 | 3 | NaN | NaN | Exit Elena | NaN | NaN | NaN | 75 | 0 | 0 | 0 | 2012 | NaN | Elena, una joven enfermera recién entrenada, va “cama adentro” a cuidar a una anciana. La anciana no vive sola: vive con su hijo y también con su nuera. Se suma un gato y, más tarde, un hijo que regresa, nieto de la señora al cuidado de Elena. La nuera de la anciana es el eje por donde pasan las neurosis, en altísima circulación, de la casa. Elena mira, aprende, toma distancia y se acerca, cuida y se deja cuidar. Nathan Silver dirige, escribe y actúa como ese hijo que regresa, y dirige a su madre, que hace de su madre y que se constituye como un personaje fundamental, la interacción crucial para Elena. Una comedia de bajo presupuesto y de gran nivel de logros: en los diálogos, en las situaciones, en la incomodidad, en la crudeza para describir los precios que se pagan para no estar solo, o sola, o para estar solos pero acompañados. En la combinación de ferocidad y ternura, despunta un cineasta hiperactivo (en la sección Panorama les ofrecemos Soft in the Head) que demuestra que la cercanía con los personajes no le resta filo a su mirada. Javier Porta Fouz_x000D_\n | Elena, a young nurse fresh out of school takes an in-house job looking after an old lady. The old lady doesn’t live alone: she’s with her son and her daughter-in-law. Plus, a cat, and later, a returning son, the grandson of the old lady Elena takes care of. The old lady’s daughter-in-law is the core where all the different neurosis circulating in the house are running through. Elena watches, learns, takes distance, comes closer, takes care and lets herself being taken care of. Nathan Silver directs, writes, and acts like that returning son, and directs her mother who plays her mother and stands as a fundamental character, the crucial interaction for Elena. A low-budget comedy with large-size accomplishments: in its dialogues, its situations, its unease, the raw way in which describes the prices one pays for not being alone –or for being alone and accompanied. Right in the combination of ferociousness and tenderness is where this hyperactive filmmaker makes his appearance (we also offer you Soft in the Head in the Panorama section), proving that his closeness to the characters does not make his eye less sharp. JPF | NaN | 72 | NaN | 1 | 5 | NaN | 151 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Kia Davis, Cindy Silver, Jim Chiros, Gert O’Connell, Nathan Silver | D, P: Nathan Silver _x000D_\nG: Nathan Silver, Kia Davis_x000D_\nF: David Dahlbom _x000D_\nE: Nathan Silver, Kia Davis, Cody Stokes _x000D_\nS: Arjun G. Sheth_x000D_\nM: Washington Phillips _x000D_\nPE: Harvey L. Silver_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | c0u9cKKz3b0 | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130142 | exit_elena_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:52:36 | 2013-03-27 15:11:22 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 45 | 3 | NaN | NaN | I used to be darker | Yo solía ser más oscuro | NaN | NaN | 75 | 0 | 0 | 0 | 2013 | NaN | Y poco a poco se va apagando, y todo lo que en el pasado era compartido de repente pesa como un lastre. Y de modo irrevocable, para Kim y Bill ha llegado el momento de establecer prioridades y soltar ese lastre. Bill hace canciones, Kim hace canciones, y ni siquiera eso tienen ya en común. Bill, ahogado por la responsabilidad de ser el principal sustento familiar, va arrinconando su carrera musical. Y en tanto Kim toma impulso, aumenta su círculo de seguidores y tiene una aventura con uno de sus músicos. Irremediablemente llega el momento de dejarlo estar. En este afilado contexto, Abby, la hija adolescente de ambos, va incorporando a su vida la ingrata condición del rehén emocional. Hasta que algo inesperado sucede: la visita de su joven prima norirlandesa, que funcionará para ella como refugio en medio de la hecatombe. I Used to Be Darker supone la confirmación de Matt Porterfield como un cineasta capaz de capturar estados de la existencia tan frágiles como el salto a la madurez de una joven o el fatal declive de una pareja, momentos de cambio a los que asistimos como en una revelación que va de la oscuridad a la luz y nos devuelve nuevamente a la oscuridad. Fran Gayo | Slowly, things fade out, and everything that was shared in the past now suddenly weighs like ballast. Irrevocably, for Kim and Bill it’s time to establish new priorities and drop that ballast. Bill writes songs, Kim writes songs, and now they don’t even have that in common. Overwhelmed by the responsibility of being the family’s main support, Bill starts to put his music career on the corner. Meanwhile, Kim grabs an impulse, expands her number of fans, and has an affair with one of her musicians. It’s the inevitable time of letting him be. In this acute context, their teenage daughter Abby starts to become the unrewarding figure of emotional hostage. Until something unexpected happens: her young cousin from Northern Ireland comes to visit, and she will be her refuge in the middle of the crisis. I Used to Be Darker is the confirmation of Matt Porterfield as a filmmaker who is capable of capturing states of existence as fragile as a young woman’s jump to adulthood, or a couple’s fatal decline –moments of change we witness as in a revelation that goes from darkness to the light, and then takes us back to darkness. F | NaN | 89 | NaN | 1 | 5 | NaN | 152 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Deragh Campbell, Hannah Gross, Ned Oldham, Kim Taylor, Nick Petr | D: Matt Porterfield _x000D_\nG: Amy Belk, Matt Porterfield_x000D_\nF: Jeremy Saulnier _x000D_\nE: Marc Vives _x000D_\nS: Danny Meltzer _x000D_\nP: Eric Bannat, Steve Holmgren, Ryan Zacarias_x000D_\nCP: Hamilton Film Group, Steady Orbits, Nomadic Independence Pictures_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | eFq2a4lidMI | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130180 | i_used_to_be_darker_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:55:15 | 2013-03-27 15:22:16 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 46 | 3 | NaN | NaN | Tchoupitoulas | NaN | NaN | NaN | 75 | 0 | 0 | 0 | 2012 | NaN | El mismo año en que Cannes, Sundance y Hollywood se rinden a la pirotecnia de La niña del sur salvaje, el año en que Treme refina su fórmula de drama coral post Katrina, ¿qué posibilidades de subsistencia puede tener una película frágil pero plena de magia como Tchoupitoulas? Una respuesta inmediata sería decir que para eso están los festivales de cine, para descubrir y echar luz sobre films de estas características._x000D_\nTres hermanos, entre la infancia y la adolescencia, emprenden de modo accidental un viaje nocturno por las calles de Nueva Orleans. Allí, y hasta que salga el primer ferry de la mañana, conocerán un mundo de músicos callejeros, espectáculos de burlesque, locales de striptease... Partiendo de esta sencilla premisa, los hermanos Ross son capaces, en apenas ochenta minutos, de sumar al espectador en este viaje iniciático, capturando de modo prodigioso un tempo que es inmediato y a la vez onírico, y dando vida a un relato ensoñado en el que se pueden leer referencias a Mark Twain y J.M. Barrie. Fran Gayo | On the same year Cannes, Sundance, and Hollywood are kneeling before the fireworks of Beasts of the Southern Wild, and Treme is refining his formula for post-Katrina choral drama, what are the survival chances for a fragile but magic-filled film such as Tchoupitoulas? An immediate response would be to say that’s the reason why we have film festivals, to discover and shed some light on these types of films. _x000D_\nThree brothers, aged between infancy and adolescence, accidentally set out on a night ride through the streets of New Orleans. Until the first morning ferry ships out, they will get to see a world of street musicians, burlesque shows, and strip joints…Starting out from this simple premise, the Ross brothers are capable of taking the spectator along in this journey of initiation in only eighty minutes, remarkably capturing a tempo that’s immediate and at the same time oneiric, and creating a dreamy story where we can see references of Mark Twain and J.M. Barrie. FG | NaN | 82 | NaN | 1 | 5 | NaN | 158 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | William Zanders, Kentrell Zanders, Bryan Zanders | F: Bill Ross, Turner Ross_x000D_\nE: Bill Ross _x000D_\nS: Lawrence Everson_x000D_\nP: Turner Ross, Bill Ross, Michael Gottwald, Dan Janvey, Josh Penn _x000D_\nPE: Billy Peterson, John Montague, Ed Rieker, Herb Campbell Jr._x000D_\nCP: Epic Match Media | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | 120gE7DnoOs | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130403 | tchoupitoulas_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 16:58:21 | 2013-03-27 16:36:07 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 47 | 3 | NaN | NaN | Les Coquillettes | Fideos codito | Macaroni & Cheese | NaN | 82 | 0 | 0 | 0 | 2012 | NaN | Una realizadora presenta un corto en el Festival de Cine de Locarno. Pero también, durante su estadía, se dedica a dirigir un largo, en el que además actúa. Al año siguiente, presenta el largo en el mismo festival. Este no es el argumento de Les Coquillettes: es apenas información sobre su rodaje y su exhibición. Les Coquillettes es una película que transcurre durante un festival con fondo real, y es además una película festiva: trata sobre tres amigas que van a un festival de cine a pasarla bien, a las fiestas, a buscar romances, aventuras, sexo. Bueno, también ven algunas películas y conversan sobre cine (y hasta aparece interpretándose a sí mismo Olivier Père, el director del Festival hasta 2012). Una de las chicas está loca por Louis Garrel, las otras tienen tribulaciones menos faranduleras. Entre conversaciones sobre sexo, camaradería femenina, alcohol y la comida que se puede comer con un presupuesto festivalero ajustado, Les Coquillettes apuesta al humor y a la ligereza; a una resaca feliz, fresca, burbujeante, cercana. Javier Porta Fouz | A filmmaker presents a short film in the Locarno Film Festival. But during her stay, she also shoots a feature length film and stars in it. The next year, she presents the film in that same festival. This is not the plot of Macaroni & Cheese: it’s just some information about its making and premiering. Macaroni & Cheese is a film that takes place during a real festival, and it’s also a festive film: it’s about three girl friends who go to a festival to have a good time, hit the parties, and seek romances, adventures, and sex. Well, they also watch some films and talk about cinema (even Olivier Père, the Festival director until 2012, is featured playing himself). One of the girls is crazy for Louis Garrel, the other ones have less star-fucking tribulations. Among conversations about sex, female companionship, and the kind of food you can get with a tight festival budget, Macaroni & Cheese bets on comedy and lightness –a happy, fresh, bubbling and familiar hangover. JPF | NaN | 75 | NaN | 1 | 8 | NaN | 187 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Camille Genaud, Carole Le Page, Sophie Letourneur | F: Antoine Parouty_x000D_\nE: Jean-Christophe Hym _x000D_\nS: Pascal Ribier_x000D_\nP: Emmanuel Chaumet _x000D_\nCP: Ecce Films_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | sJ1q3ShiGJo | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130247 | les_coquillettes_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:01:18 | 2013-03-27 16:48:34 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 48 | 122 | NaN | NaN | Tráiganme la cabeza de la mujer metralleta | NaN | Bring Me the Head of the Machine Gun Woman | NaN | 46 | 0 | 0 | 0 | 2013 | NaN | NaN | NaN | NaN | 75 | NaN | 1 | 8 | NaN | 17 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 0 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | SMATgtIxU-M | NaN | traiganme_la_cabeza_de_la_mujer_metralleta_ernesto_diaz_espinoza__1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:08:39 | 2013-04-02 16:05:14 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 49 | 122 | NaN | NaN | Kiltro | NaN | NaN | NaN | 46 | 0 | 0 | 0 | 2006 | NaN | En la historia del cine latinoamericano podemos ver dos grandes vías: el film político y/o autoral (ya sea alegórico o explícito) y la matriz de género popular (comedia, melodrama, histórico), nacionalizados a través de la música. Pero ¿cómo nacionalizar y volver latinoamericanas a las artes marciales? La respuesta se encuentra en esta película. La palabra Kiltro alude a los perros callejeros, sin linaje conocido, al igual que Zami, un joven árabe que no conoce a su padre y que está enamorado de Kim, la bella hija adolescente de un maestro oriental que vive en el mismo barrio multirracial que él. Zami buscará conquistarla intentando ser tierno mientras golpea a sus rivales amorosos. Sin embargo, luego de décadas volverá Max Kalba para ajustar cuentas con el padre de Kim… Díaz construye su relato utilizando los códigos propios del cine oriental, pero agregando humor y melodrama latinoamericanos y toques de cultura popular universal, surgiendo de esta mezcla de linajes la que es considerada la primera película de artes marciales de nuestras mestizas tierras, y transformando a su protagonista Marko Zaror en el primero de sus héroes. _x000D_\n_x000D_\nRaúl Camargo | There are two main roads in the history of Latin American cinema: the political and/or auteur film (whether it’s allegorical or explicit) and the core of popular genres (comedy, melodrama, period piece) that are nationalized through music. But, how does one nationalize and make martial arts Latin American? The answer is in this film. The word Kiltro refers to stray dogs of unknown linage, just like Zami, a young Arab man who never met his father and is in love with Kim, the beautiful teenage daughter of an Oriental master who lives in the same multi-ethnic neighborhood. Zami will attempt to seduce her by being a tender man as he beats away his rivals in romance. However, Max Kalba returns after decades away to settle some scores with Kim’s father... Díaz builds his story using the codes of Oriental cinema, but adding Latin American comedy and melodrama, as well as a few touches of universal popular culture. The result of this mixture of lineages is a film that is regarded as the first martial arts film of these half-caste lands of ours, turning its lead Marko Zaror in this genre’s first hero. _x000D_\n_x000D_\nRC | NaN | 93 | NaN | 1 | 2 | NaN | 17 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Marko Zaror, Caterina Jadresic, Miguel Ángel De Luca, Alejandro Castillo, Man Soo-yoon | G, E: Ernesto Díaz Espinoza_x000D_\nF: Víctor Jiménez Atkin_x000D_\nDA: María Eugenia Navarro_x000D_\nS: Filmosonido_x000D_\nM: Rocco_x000D_\nP: Derek Rundell_x000D_\nPE: Derek Rundell, Marko Zaror, Diego Izquierdo_x000D_\nCP: Ronnoc Entertainment, Chilechita_x000D_\n_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | P4GhE9y0M_Q | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130211 | kiltro_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:11:47 | 2013-03-27 15:33:01 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 50 | 122 | NaN | NaN | Mirageman | NaN | NaN | NaN | 46 | 0 | 0 | 0 | 2008 | NaN | Un héroe por azar. Un héroe anónimo que se transforma en superhéroe, levantado por los medios de comunicación que buscan saber su identidad. Un hombre común y corriente impulsado por el amor a su hermano y a una mujer. Si en su primera película Díaz respondía a la pregunta de cómo latinoamericanizar las artes marciales, en Mirageman da un paso más allá mostrándonos cómo hacer posible la figura de un justiciero enmascarado en el Tercer Mundo. Con un guiño a Batman, pero instalando a su doble opuesto; un héroe pobre, que se moviliza en transporte público, sin más armas tecnológicas que el uso de internet, y con la ayuda de una persona tan común como él: Pseudo Robin, probablemente el mejor ayudante de superhéroe de la historia cinematográfica. A la mezcla de patadas, humor, melodrama y cultura pop de Kiltro, Díaz le suma mayor densidad e introspección, tratando temáticas sociales todavía contingentes, pero sin perder de vista el factor coreográfico y de entretenimiento propio del género, estableciendo un diálogo entre las artes marciales y la exploitation que marcará su cine posterior y que hace de este film una película de culto. _x000D_\n_x000D_\nRaúl Camargo | A random hero. An anonymous hero who turns into a superhero thanks to the boost of the media, which are trying to find out about his true identity. A common man driven by the love for his brother and a woman. While in his first film Díaz answered the question of how to make Latin American martial arts, now Mirageman takes one step forward by making real the possibility of a Third World masked avenger. The film includes some winks at Batman but installs an opposite double, a poor hero who moves around using public transportation and has no high-tech weapon other than the Internet and the help of someone as common as him: Pseudo Robin –probably the best sidekick in film history. To Kiltro’s mixture of punches, comedy, melodrama, and pop culture, Díaz now adds more density and introspection, addressing contingent social issues without ever losing sight of the choreographic and entertainment-based aspect of the genre, establishing a dialogue between martial arts and exploitation that will mark his following films while turning this one into a cult movie. _x000D_\n_x000D_\nRC | NaN | 88 | NaN | 1 | 2 | NaN | 17 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Marko Zaror, María Elena Swett, Mauricio Pesutic, Iván Jara, Ariel Mateluna | G, E: Ernesto Díaz Espinoza _x000D_\nF: Nicolás Ibieta Alemparte_x000D_\nDA: Constanza Meza Lopehandía_x000D_\nS: Filmosonido_x000D_\nM: Rocco_x000D_\nP: Derek Rundell, Marko Zaror_x000D_\nPE: Javier Schenone_x000D_\nCP: Ronnoc Entertainment_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | ZM-J-RnIO-c | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130285 | mirageman_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:13:33 | 2013-03-27 15:53:48 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 51 | 122 | NaN | NaN | Mandrill | NaN | NaN | NaN | 46 | 0 | 0 | 0 | 2008 | NaN | La seducción y la chispa del Bond de Roger Moore, el desprecio por la vida criminal y el amor a las armas largas de Harry el Sucio, el talento para las artes marciales de Bruce Lee. Imaginen esa combinación explosiva, y súmenle el halo trágico que le otorga haber presenciado, de niño, la muerte de sus padres. O mejor no imaginen nada y conozcan a “Mandrill”, el alias que usa Antonio para cazar maleantes a cambio de abultadas recompensas, pero sobre todo por la esperanza de encontrar al hombre tuerto que lo dejó huérfano. En ese camino que Mandrill pavimenta con la sangre de sus víctimas se cruzará, irremediablemente, con una femme fatale: nada menos que la hija de su peor enemigo. Como puede inferirse por la sagrada trinidad mencionada al comienzo, el tercer trabajo en conjunto de Díaz y Zaror apunta directo al corazón de la superacción setentista, y da casi siempre en el blanco. Pero el amor por ese cine salvaje no es para nada monógamo: ahí tienen un homenaje explícito a Vértigo y una secuencia de lucha por los pasillos de un hotel que bien podría pasar por el último nivel del Kung-Fu Master. _x000D_\n_x000D_\nAgustín Masaedo | The seduction and spark of Roger Moore’s Bond, Dirty Harry’s disregard for the lives of criminals, and Bruce Lee’s talent for martial arts. Imagine that explosive combination and add to it the tragic halo of having witnessed the death of his parents when he was a child. Or don’t imagine anything and just go meet Mandrill, the alias Antonio uses to hunt criminals in exchange for some juicy rewards, but mostly with the hope of finding the one-eyed man who turned him into an orphan. In that path Mandrill taints with the blood of his victims, he will inevitably come across a femme fatale: none other than the daughter of his worse enemy. As you can infer from the sacred trilogy mentioned above, Díaz and Zaror’s third work aims straight to the heart of 1970s action movies, and hits the target almost every time. But the love for that wild cinema is hardly monogamous: there’s an explicit homage to Vertigo and a fight sequence in some hotel hallways that could easily pass for the final level of Kung-Fu Master. _x000D_\n_x000D_\nAM | NaN | 89 | NaN | 1 | 11 | NaN | 17 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Marko Zaror, Celine Reymond, Alejandro Castillo, Luis Alarcón, Augusto Schuster | G, E: Ernesto Díaz Espinoza _x000D_\nF: Nicolás Ibieta Alemparte_x000D_\nDA: Mauricio Céspedes_x000D_\nS: Filmosonido_x000D_\nM: Rocco_x000D_\nP: Derek Rundell, Marko Zaror_x000D_\nPE: Javier Schenone_x000D_\nCP: Ronnoc Entertainment_x000D_\n_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | AXh5nEdh5xk | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130267 | mandrill_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:15:00 | 2013-03-27 15:46:48 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 52 | 3 | NaN | NaN | Ma belle gosse | Mi bella niña | My Blue-eyed Girl | NaN | 82 | 0 | 0 | 0 | 2012 | NaN | Maden es una adolescente que veranea en una isla junto a su familia, de la que parece estar un tanto alejada salvo por su relación con Vadin, un medio hermano con quien se entiende bien. Maden parece estar en otra galaxia, lejos de los asuntos familiares: tiene una relación epistolar con un recluso y pasa sus días de verano leyendo y releyendo las cartas, escribiendo y esperando cada nueva correspondencia. Entregada a su espíritu romántico, cree profundamente en esta relación y confía en ese hombre, a pesar de no conocerlo personalmente, tal como ella les explica a sus hermanas cuando descubren sus cartas._x000D_\nCon gran sensibilidad, la directora construye un film sólido a partir de múltiples detalles y de una profunda observación de los vínculos. La cámara, curiosa y precisa, sigue a los personajes en acciones que, si bien parecen intrascendentes, describen muy bien los comportamientos y van revelando las relaciones familiares. Shalimar Preuss, a través de una escritura absolutamente personal y con un sentido agudo de la observación, presenta una película que, sin ser pretenciosa, resulta una gran ópera prima. Violeta Bava | Maden is a teenage girl spending the summer on an island with her family, from which she seems distanced except for her relationship with Vadin, a half-brother she gets along with. Maden seems to be in another galaxy far from family affairs: the young girl keeps an epistolary relationship with a prison inmate and spends her summer days reading his letters over and over, writing, and waiting for every new answer. Immersed in that romantic spirit, she deeply believes in that relationship and trusts this man despite she has never met him personally –that’s what she explains to her sisters when they found out about her letters._x000D_\nWith great sensitivity, the director builds a solid film out of multiple details and a profound observation of family bonds. The curious and thorough camera follows the characters as they carry on with actions that, however unimportant they seem, describe behaviors very well and slowly reveal family relations. Through an absolutely personal style and a sharp sense of observation, Shalimar Preuss brings us a film that, without being pretentious, stands as a great debut. VB | NaN | 80 | NaN | 1 | 8 | NaN | 163 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Lou Aziosmanoff, Jocelyn Lagarrigue | F: Virginie Surdej_x000D_\nE: Gustavo Vasco _x000D_\nS: Olivier Touche_x000D_\nM: Vincent Segal _x000D_\nP: Emmanuel Chaumet_x000D_\nCP: Ecce Films | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130263 | ma_belle_gosse_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:16:24 | 2013-03-27 15:46:05 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 83 | 76 | NaN | NaN | London Suite | NaN | NaN | NaN | 180 | 0 | 0 | 0 | 1990 | NaN | NaN | NaN | NaN | 28 | NaN | 1 | 11 | NaN | 37 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130017 | london_suite_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:38:39 | 2013-04-03 21:26:42 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 53 | 3 | NaN | NaN | Su re | El rey | The King | NaN | 112 | 0 | 0 | 0 | 2012 | NaN | El Calvario de Cristo hacia su crucifixión ha sido objeto de varias lecturas desde los orígenes del cine, de la mano de D.W. Griffith, hasta años recientes, gracias a Mel Gibson. Ninguna de ellas alcanza la crudeza y la originalidad de esta nueva versión, que se encuentra más cerca de las pinturas de Brueghel (su Camino del Calvario de 1564) y de la Caída de Cristo en el camino del Calvario, de Rafael. Su re descansa principalmente en su fuerza visual para narrar los acontecimientos que llevaron a la muerte al rey de reyes. _x000D_\nLa influencia de Pasolini no debería pasar desapercibida, ya que desplazando la acción de Jerusalén a Cerdeña, Columbu no sólo gana con la expresividad de sus actores no profesionales (rostros de una crudeza como sólo esa zona de Italia puede ofrecer), sino que le agrega también un nuevo nivel de universalidad a la historia: después de todo una isla es un fracción de tierra suspendida en el tiempo. Casi sin hacer uso de los diálogos (en lengua sarda), Su re actualiza una historia clásica y propone una nueva mirada con una aproximación emotiva y atemporal. Leandro Listorti_x000D_\n | The Calvary of Christ on the way to his crucifixion has been the object of several interpretations, from the origins of cinema –with D.W. Griffith– to recent years –thanks to Mel Gibson. None of them reaches the rawness and originality of this new version, which is closer to Brueghel’s paintings (his 1564 The Procession to Calvary) and Raphael’s Christ Falling on the Way to Calvary. The King rests mainly on its visual power, in order to narrate the events that led to the death of the king of kings. _x000D_\nPasolini’s influence shouldn’t go unnoticed, since by moving the action from Jerusalem to Sardinia, Columbu not only gains with the expressive abilities of his non-professional actors (faces as raw as only that Italian region can deliver), he also adds a new level of universality to the story: after all, an island is a fraction of land suspended in time. With almost no use of dialogues (in Sardinian language) The King updates a classical story and brings a new perspective with an emotional and timeless approach. LL | NaN | 80 | NaN | 1 | 8 | NaN | 164 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Fiorenzo Mattu, Pietrina Menneas, Tonino Murgia, Paolo Pillonca, Antonio Forma | G, P: Giovanni Columbu _x000D_\nF: Massimo Foletti, Uliano Lucas, Francisco Della Chiesa, _x000D_\nLeone Orfeo _x000D_\nE: Giovannni Columbu_x000D_\nDA: Sandro Asara _x000D_\nCP: Luches_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130389 | su_re_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:19:03 | 2013-03-27 16:31:30 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 54 | 3 | NaN | NaN | The Town of Whales | El pueblo de las ballenas | NaN | Kujira no machi | 114 | 0 | 0 | 0 | 2012 | NaN | ¿Cómo captar ese momento en el que se termina el colegio secundario? La intensidad de los sentimientos de la adolescencia se potencia (aún más) frente al fin de una etapa y la incertidumbre sobre lo que viene. En el cine japonés hay varios ejemplos centrados en ese trance, como el extraordinario final de Linda Linda Linda. The Town of Whales, de la debutante Keiko Tsuruoka, se centra en ese momento para contar la historia de dos chicas y un chico, de sus enamoramientos, de una búsqueda y de un viaje. ¿Algo de todo eso dará sus frutos? La inteligencia y la sensibilidad de la directora, y la sutileza para meterse con emociones a flor de piel le permiten responder con amabilidad y fluidez. La capacidad para manejarse con un humor melancólico y de hacer algunos guiños a Escena frente al mar, de Kitano, seguramente provenga de estar contando un mundo conocido y cercano. The Town of Whales se realizó como cierre de los estudios de cine de la directora. Y, evidentemente, marca el inicio de una carrera más que promisoria. Javier Porta Fouz | How does one capture that moment in which high school is over? The intensity of adolescent feelings is boosted (even more) when faced with the end of a phase and the uncertainty of what is to come. Japanese cinema has several examples that focus on this transition, like the extraordinary ending of Linda Linda Linda. The Town of Whales, by debutant filmmaker Keiko Tsuruoka, focuses on that moment to tell the story of two girls and a boy, their romances, a search, and a journey. Will any of these things bear fruit? The director’s intelligence and sensitivity and the subtle way in which she deals with emotions that are out in the open allows her to respond in a kind and fluid way. Her ability to handle melancholic comedy and throw some references to Kitano’s A Scene at the Sea surely comes from portraying a world that she knows and feels close to. The Town of Whales was the director’s graduation work. And it clearly marks the beginning of a more than promising career. JPF | NaN | 70 | NaN | 1 | 5 | NaN | 166 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Momoko Tobita, Sui Katano, Sakiko Yamaguchi, Kentaro Sato, Masaru Nakashima | G, E: Keiko Tsuruoka _x000D_\nF: Kenta Sasaki_x000D_\nS: Noriko Takeuchi_x000D_\nP: Keiko Tsuruoka, Sui Katano_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130426 | the_town_of_whales_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:21:24 | 2013-03-27 16:41:31 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 55 | 3 | NaN | NaN | A World Not Ours | Un mundo ajeno | NaN | Alam laysa lana | 180 | 124 | 63 | 0 | 2012 | NaN | Ain al-Hilweh quiere decir “dulce primavera”. Y es también el nombre de un campo de refugiados palestinos situado en el sur del Líbano. Es una jaula, un laberinto de pasillos de apenas un kilómetro cuadrado en el que se amontonan setenta mil refugiados. Mahdi Fleifel, director de A World Not Ours, pasó allí parte de su infancia en los años ochenta. Luego se trasladó con sus padres a Dinamarca, y Ain al-Hilweh empezó a ser el lugar al que regresar durante las vacaciones, el lugar donde reencontrarse con su familia y amigos, el lugar en el que –sin éxito– probaba redibujar su propia identidad una y otra vez. Fleifel construye su película a partir de los registros en video de cada una de esas visitas, con un tono que por momentos remite al Woody Allen de Días de radio, arrastrando al espectador de la risa a la congoja más absoluta en cuestión de segundos. En el fondo, y más allá de las ocasionales referencias al conflicto eternamente irresoluto, A World Not Ours, como Los rubios de Albertina Carri, es un film arrebatadamente político desde una óptica íntima, emocional, familiar, doméstica, como quieran decirle. Fran Gayo | Ain al-Hilweh means “sweet springtime”. And it is also the name of a Palestine refugee camp in southern Lebanon. It’s a cage –a one square kilometer labyrinth of hallways where 70,000 refuges cram together. Mahdi Fleifel, director of A World Not Ours, spent part of his childhood there in the 1980s. He later moved with his parents to Denmark, and Ain al-Hilweh became the place he would go back to on vacations, where he would reunite with family and friends, where he would unsuccessfully attempt to redraw his own identity over and over again. Fleifel builds his film out of the video footage from each visit, with a tone that at times echoes Woody Allen in his Radio Days years, dragging the spectator from laughter to the outmost sadness in a matter of seconds. In the end, and apart from any occasional reference to the eternally unresolved conflict, A World Not Ours –like Albertina Carri’s The Blondes– is an impulsively political film from a perspective that’s intimate, emotional, familiar, domestic, or whatever you want to call it. FG | NaN | 93 | NaN | 3 | 5 | NaN | 168 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Ahmad Mufleh Alaeddine aka “Abu Osama”, Said Mufleh Alaeddine, Bassam “Abu Eyad” Taha_x000D_\n | G, F: Mahdi Fleifel _x000D_\nE: Michael Aaglund_x000D_\nS: Zhe Wu _x000D_\nM: Jon Opstad_x000D_\nP: Patrick Campbell, Mahdi Fleifel_x000D_\nCP: Nakba FilmWorks _x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | 8sP9H-ZUSi4 | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130020 | a_world_not_ours_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:24:03 | 2013-03-27 14:44:14 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 56 | 3 | NaN | NaN | Berberian Sound Studio | NaN | NaN | NaN | 180 | 0 | 0 | 0 | 2012 | NaN | Ese pobre Gilderoy (siempre perfecto Toby Jones), el aplomado, casi virginal ingeniero de sonido británico que llega a un estudio de grabación italiano, poblado de burócratas y vampiresas, para realizar el diseño sonoro de un film de horror llamado The Equestrian Vortex, es la víctima propiciatoria perfecta: aquel que deberá pagar por nuestros pecados, por todo ese cine que hemos visto pero no hemos escuchado. En el marco de un thriller psicológico abstracto (Lyncheano + Kafkiano, diríase, simplificando), Peter Strickland no sólo envasa un homenaje al giallo (extremando de modo radical sus búsquedas pero subvirtiendo, en un mismo movimiento, sus coartadas sensoriales), sino que además ensaya una extraordinaria oda al sonido en el cine, cuyos homenajeados están en el espejo retrovisor, mientras que sus ideas sobre el modo de llevar el cumplido a cabo se encuentran bien adelante en la ruta, y Berberian Sound Studio es el vehículo que avanza hacia ellas a una velocidad de locos. Marcelo Panozzo | That poor old Gilderoy (an always perfect Toby Jones), he’s a composed, almost virginal British sound designer who comes to an Italian recording studio populated by bureaucrats and vamps to work on the sound design of a horror film called The Equestrian Vortex; and he is the perfect propitiatory victim: he who will have to pay for our sins, for all that cinema we have seen but not heard. In the context of an abstract psychological thriller (Lynchean + Kafkian, one would say to simplify things), Peter Strickland not only bottles up an homage to giallo (radically taking its issues to the extreme, but subverting its sensorial alibies in that same movement), he also tries out an extraordinary ode to film sound with its honor guests on the rear view mirror, while his ideas about the way to carry out the tribute lie well ahead on the same road, and Berberian Sound Studio is the vehicle that moves towards them at a crazy speed. MP | NaN | 88 | NaN | 1 | 8 | NaN | 170 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Toby Jones, Cosimo Fusco, Fatma Mohamed, Eugenia Caruso, Antonio Mancino | D, G: Peter Strickland _x000D_\nF: Nic Knowland_x000D_\nE: Chris Dickens _x000D_\nDA: Jennifer Kernke_x000D_\nS: Joakim Sundström _x000D_\nM: Broadcast_x000D_\nP: Keith Griffiths, Mary Burke_x000D_\nPE: Robin Gutch, Hugo Heppell, Katherine Butler, Michael Weber _x000D_\nCP: Illuminations Films, Warp X_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | E5RIP1lc0Y0 | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130054 | berberian_sound_studio_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:26:18 | 2013-03-27 14:50:55 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 84 | 0 | NaN | NaN | Woolworths Choir | NaN | NaN | NaN | 180 | 0 | 0 | 0 | 1979 | NaN | NaN | NaN | NaN | 20 | NaN | 1 | 11 | NaN | 38 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130017 | NaN | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:39:40 | 2013-04-03 21:27:01 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 57 | 3 | NaN | NaN | Call Girl | Prostituta | NaN | NaN | 207 | 109 | 162 | 80 | 2012 | NaN | Suecia, en lo más profundo de los años setenta. Iris y Sonja se conocen en un centro de acogida para menores. Allí sellarán un pacto de amistad atravesado por su odio hacia el mundo y sus insobornables ganas de diversión. Nada que se aleje de los cánones del teenage angst. Hasta que en su camino se cruza Mrs. Glans (rotunda y terriblemente sexy Pernilla August), una dama elegante y liberal; inquietante figura materna tras la que se oculta una madama encargada de proporcionar fiestas y carne fresca a la alta sociedad de Estocolmo. Y eso incluye a algunos miembros del Partido Socialdemócrata en el poder._x000D_\nBasada en un caso real que incendió la vida política sueca en los años setenta, Call Girl ha sido definida por su autor como “un clásico thriller de paranoia política”. Sin embargo, creemos que la definición es insuficiente para una ópera prima como ésta, que desborda talento y ambición por partes iguales, que cruza géneros con aplomo casi suicida, que nos entrega un retrato desapacible y frío de aquella Europa en la que los ABBA reinaban con una sonrisa de oreja a oreja. Fran Gayo | Sweden, right in the depths of the 1970s. Iris and Sonja meet in a child care centre. There, they will seal a friendship pact marked by their hatred of the world and an incorruptible will to have fun –so far, nothing that sets the film apart from the classic rules of teenage angst. Until their paths meet Mrs. Glans (solid, terribly sexy Pernilla August), an elegant, liberal lady –a disturbing motherly figure that actually fronts a madam who throws parties and fresh meat to Stockholm’s high society. And that includes several social-democrat politicians in office. Based on a real case that inflamed Swedish politics in the 1970s, Call Girl has been defined by his director as “a classic political paranoia thriller”. However, we consider that definition to be insufficient for a first film such as this, since it bursts with equal amounts of talent and ambition, crossing genres with an almost suicidal composure, and delivers an unpleasant and cold portrait of that old Europe in which ABBA used to reign with a huge smile. FG | NaN | 140 | NaN | 1 | 8 | NaN | 171 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Pernilla August, Sofia Karemyr, Simon J. Berger, Sven Nordin, David Dencik | G: Marietta von Hausswolff von Baumgarten_x000D_\nF: Hoyte van Hoytema _x000D_\nE: Kristofer Nordin_x000D_\nDA: Lina Nordqvist, Michael Higgins_x000D_\nS: Petter Fladeby, Per Nyström_x000D_\nM: Mattias Bärjed _x000D_\nP: Mimmi Spang_x000D_\nPE: Helena Danielsson, Maria Dahlin_x000D_\nCP: Garagefilm International_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | Q5sMciZTN9o | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130074 | call_girl_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:29:54 | 2013-03-27 14:54:16 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 58 | 3 | NaN | NaN | Playback | Reproducción | NaN | NaN | 208 | 0 | 0 | 0 | 2012 | NaN | Antes de su muerte (décadas antes, podría decirse, ya que murió el 21 de febrero de este año pero trabajó intermitentemente en el proyecto desde fines de los sesenta), el gran director ruso Alexei German se encontraba trabajando en la adaptación de Qué difícil es ser Dios, la novela de los hermanos Arkadi y Boris Strugatski, relato de ciencia ficción que involucra a científicos estudiando el comportamiento de los habitantes de un planeta salvaje. A su modo, Cattin y Kostomarov filman la misma historia: el “planeta salvaje” no es otra cosa que el set de rodaje de Qué difícil es ser Dios, y el Dios en cuestión naturalmente es German, con sus picos emocionales, sus órdenes inauditas y un maltrato al equipo de filmación que jamás se registró con tanta crudeza, a punto tal que Herzog queda a la altura de un Backyardigan al lado del autócrata de Leningrado. Más allá de ecos y metáforas (que los hay y muchos), Playback es una oportunidad única de asomarse a un proceso creativo en su estado de esplendor más salvaje. Marcelo Panozzo_x000D_\n | Prior to his death (you might say decades before, since he died on February 21st this year, but worked periodically on this project since the late Sixties), the great Russian director Alexei German was working in the adaptation of How Hard It Is to Be God, a novel by brothers Arkadi and Boris Strugatski –a science fiction story about scientists studying the behavior of a wild planet’s inhabitants. In their own way, Cattin and Kostomarov filmed the same story: the “wild planet” is actually the film set of How Hard It Is to Be God, and the God in question is, naturally, German, with his emotional peaks, impossible orders, and a level of abuse towards his film crew that has never been so crudely documented and makes Herzog look like a Backyardigan when put next this autocrat from Leningrad. Apart from its echoes and metaphors (there are plenty of both), Playback is a unique opportunity to peek at a creative process in its most wild state of splendor. MP | NaN | 67 | NaN | 3 | 5 | NaN | 173 | 175 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | F: Antoine Cattin, Pavel Kostomarov _x000D_\nG, E: Antoine Cattin _x000D_\nS: Adrien Kessler_x000D_\nP: Elena Hill _x000D_\nCP: Les Films Hors-Champ, RTS Radio Television Suisse | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130348 | playback_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:32:07 | 2013-03-27 16:18:36 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 59 | 3 | 11.0 | NaN | Anina | NaN | NaN | NaN | 229 | 52 | 0 | 0 | 2013 | NaN | Anina Yatay Salas: un nombre y dos apellidos capicúas. Anina vive en Montevideo y va al colegio primario, y sus compañeros la cargan por su nombre y sus apellidos. En el colegio Anina tiene una mejor amiga, pero también hay una nena con la que no se lleva nada bien: Yisel. Un día se pelea con Yisel y empiezan sus problemas: la directora del colegio les da a ambas una intrigante penitencia, un castigo en suspenso. En esa suspensión, en ese tiempo de especial tensión y preguntas, pasan los días de Anina, y su voz en off nos guía y nos comenta la vida con sus simpáticos padres, las comidas, las miradas de las vecinas chismosas, las tareas, los sentimientos, las felicidades y los miedos de su niñez. Con una animación de especial belleza que integra perfectamente el movimiento de los personajes con fondos dignos de libros ilustrados para niños (AninA se basa en el libro Anina Yatay Salas, de 2003), esta entrañable película de animación tiene el sabor de lo artesanal y también el de una merienda feliz y cálida en una tarde lluviosa. Javier Porta Fouz | Anina Yatay Salas: both her name and two last names are palindromes. Anina lives in Montevideo and goes to primary school, where her classmates make fun of her because of her name and last names. Anina has a best friend in school, but there is also a girl with whom she doesn’t get along at all: Yisel. One day she fights with Yisel, and so her problems begin: the school principal gives them both an intriguing punishment, a suspended detention. Anina spends her days in that suspension, a period of time with particular tension and questions, and her voice over guides us as she comments on life with her nice parents, meals, the eyes of gossipy neighbors, homework, and childhood feelings, joys, and fears. Featuring a particularly beautiful animation that perfectly integrates the movement of the characters with backgrounds settings that are worthy of illustrated children’s books (AninA is based on the 2003 book Anina Yatay Salas), this moving animated film has the homemade flavor of a warm and happy afternoon tea on a rainy day. JPF | NaN | 82 | NaN | 1 | 8 | NaN | 180 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Federica Lacanio, María Mendive, César Troncoso, Guillermina Pardo, Lucía Parrilla | G: Federico Ivanier, Alfredo Soderguit, Alejo Schettini, Julián Goyoaga, Germán Tejeira _x000D_\nF: Juan Carve, Paulo Pérez_x000D_\nE: Julián Goyoaga, Germán Tejeira_x000D_\nDA: Sebastián Santana _x000D_\nS: Sergio Stempniewicz, Camilo Montilla _x000D_\nM: Gastón Otero, Bruno Boselli_x000D_\nP: Julián Goyoaga, Germán Tejeira, Jhonny Hendrix Hinestroza _x000D_\nPE: Julián Goyoaga, Germán Tejeira, Alfredo Soderguit, _x000D_\nAlejo Schettini, Jhonny Hendrix Hinestroza_x000D_\nCP: Palermo Estudio, Raindogs Cine, Antorcha Films | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | yakr0rRQkXc | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130039 | anina_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:34:34 | 2013-04-15 19:49:10 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 60 | 83 | NaN | NaN | Men in the Ring | Hombres en el ring | NaN | Männer im Ring | 208 | 0 | 0 | 0 | 1990 | NaN | Hundwil: un pueblo suizo en el cantón de Appenzell. Doce casas alrededor de una plaza. Las personas que viven en esas casas. En el centro, la “Landsgemeinde” de los hombres, la reunión pública en la que se discute y decide mediante votación todo lo relativo a la comuna. La “democracia directa” de esta tradición, enraizada en una idea del mundo secular, y la irrupción del derecho al voto de las mujeres. El evento del siglo: un mundo tradicional con antiguos valores y formas transmitidas desde tiempos remotos, confrontado ahora a la modernidad. Realizada en conmemoración de los setecientos años de Suiza, Men in the Ring es la última parte de una trilogía a la que pertenecen The Battle of Morgarten (1978) y Ex Voto (1986), en la que el cine de Erich Langjahr demuestra toda su fuerza documental, dejando de lado el pintoresquismo para retratar a una generación insegura que está en la búsqueda de su identidad, sus creencias y el futuro. | Hundwill: a Swiss town in the Appenzell canton. Twelve houses around a square. The people living in those houses. In the center, the “Landsgemeinde” of men: the public meeting where everything concerning the commune is debated and voted on. The “direct democracy” of that tradition, rooted in a secular view of the world, and the arrival of the women’s right to vote. The event of the century: a traditional world with ancient values and manners transmitted from remote times is now confronted with modernity. Made in commemoration of the 700th anniversary of Switzerland, Men in the Ring is the last part of a trilogy, with The Battle of Morgarten (1978) and Ex Voto (1986), in which Erich Langjahr’s cinema shows all of its documentary force, leaving aside picturesque issues to portray an insecure generation as it searches for its identity, beliefs, and future. | NaN | 76 | NaN | 1 | 2 | NaN | 20 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | G: Erich Langjahr _x000D_\nF: Erich Langjahr, Otmar Schmid, André Simmen_x000D_\nE: Edwige Ochsenbein_x000D_\nS: Silvia Haselbeck, Ingrid Städeli, Ruedi Guyer_x000D_\nM: Mani Planzer_x000D_\nCP: Langjahr-Film_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130281 | men_in_the_ring_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:34:39 | 2013-03-27 15:52:48 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 61 | 83 | NaN | NaN | Shepherds’ Journey into the Third Millenium | Viaje de pastores al tercer milenio | NaN | Hirtenreise ins dritte Jahrtausend | 208 | 0 | 0 | 0 | 2002 | NaN | Luego de Alpine Ballad y The Peasants’ War, Shepherds’ Journey into the Third Millennium es la tercera película de una trilogía en la que trabajo con los temas fundamentales de los seres humanos y su existencia. Una de las formas culturales más antiguas de la historia humana es el pastoreo. Esencialmente, sigue teniendo interés económico incluso hoy, y encarna también un modo de vida y una mirada del mundo distinta. Quería conocer la vida de los pastores de hoy en el umbral del tercer milenio. En estos tiempos de inquietud y cambio de valores entre la tradición y el futuro, la película es también la expresión de mi propio conflicto interno. Los pastores del film viven una vida de privaciones y enfrentan desafíos que a menudo los llevan al límite de sus capacidades. Ellos no vienen de una tradición agricultora, pero eligieron esta vida por su necesidad de tener la libertad para hacer algo significativo. _x000D_\n_x000D_\nErich Langjahr | Following Alpine Ballade and The Peasants’ War, Shepherds’ Journey into the Third Millennium is the third film of a trilogy in which I deal with the fundamental issues of human beings and their existence. One of the oldest cultural forms of human existence is that of the shepherd. In its essence it is of economic interest even today, and also embodies a distinct lifestyle and worldview. I wanted to get to know the life of today’s shepherds on the threshold of the third millennium. In a time of upheaval and changes in values between tradition and future, the film is also an expression of my own inner conflict. The shepherds in the film take on a life of privation and face a challenge that often reaches the limit of their capacities. They do not come from an agricultural background, but have chosen this life themselves out of a need for the freedom to do something meaningful. _x000D_\n_x000D_\nEL_x000D_\n | NaN | 124 | NaN | 1 | 2 | NaN | 20 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | G, F, E: Erich Langjahr _x000D_\nS: Silvia Haselbeck_x000D_\nM: Hans Kennel_x000D_\nCP: Langjahr-Film_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | HBIj5TqSv7Y | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130374 | shepherdsr_journey_into_the_third_millenium_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:37:17 | 2013-03-27 16:27:29 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 62 | 83 | NaN | NaN | Alpine Saga | La herencia del montañés | NaN | Das Erbe der Bergler | 208 | 0 | 0 | 0 | 2006 | NaN | Erich Langjahr vuelve a sus queridos Alpes (el núcleo mismo de su universo cinematográfico) para registrar a un grupo de personas que continúa el legado de sus antepasados. Cada año en el 1º de agosto, el día nacional de Suiza, los Wildheuer (los últimos campesinos que todavía existen en el Muotatal, un valle en el cantón Schwyz) escalan la empinada montaña de “Hinteren Heubrig”, armados con guadañas y zapatos de madera con púas, del mismo modo en que lo hacían sus ancestros. Son miembros de una generación que creció entre las más difíciles condiciones naturales, y sobrevivió a ellas. El realismo poético de Langjahr propone una mirada hacia esas personas y sus experiencias viviendo una vida sencilla, la base misma de la existencia humana._x000D_\n | Erich Langjahr returns to his beloved Alps (the very core of his cinematic universe) to document a group of people continuing the legacy of their forefathers. Every year on Swiss national day, August 1, the Wildheuer (the last remaining mountain haymakers in the Muotatal, a valley in Canton Schwyz) climb up the steep mountain of the “Hinteren Heubrig”, fitted out with scythes and wearing wooden shoes with spikes, just as their ancestors did before them. They are part of a generation who have lived with the challenges of nature and survived it. In his film, Langjahr’s poetic realism gives an insight into these people’s experience of the simple life, the very foundation of human existence. | NaN | 97 | NaN | 1 | 2 | NaN | 20 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | G, F, E: Erich Langjahr _x000D_\nS: Silvia Haselbeck_x000D_\nM: Hans Kennel_x000D_\nCP: Langjahr-Film | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | 7mvszZAT3xU | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130035 | alpine_saga_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:38:50 | 2013-03-27 14:45:53 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 63 | 3 | NaN | NaN | Tanta agua | NaN | So Much Water | NaN | 229 | 146 | 166 | 4 | 2013 | NaN | Padre divorciado que no vive con sus hijos y que una mañana, bien temprano, pasa a buscarlos por la casa de la madre para ir con ellos de vacaciones. Al auto suben un niño y una adolescente. En el complejo turístico al que se dirigen el pronóstico es de lluvia, lluvia y más lluvia. Tanta agua. Esos son los elementos que utilizan las directoras Ana Guevara y Leticia Jorge para esta ópera prima a cuatro manos, dos cerebros y dos corazones (lo primero casi no se nota; lo demás desde ya que sí, y se agradece): postales agridulces acerca de los dilemas del crecimiento, pero bien lejos de la posible gravedad de este postulado. Tanta agua habla de la magia y la pérdida que nos rodean a diario cuando jugamos a ser otros, cuando eludimos nuestras responsabilidades o las honramos con ridículo celo, o cuando frenamos cinco centímetros antes de estamparnos contra una pared. La película no le pide a nadie que crezca; apenas apuesta a que, cuando la lluvia deje de caer, tengamos más o menos claro dónde guardar el paraguas. Marcelo Panozzo_x000D_\n | A divorced father who doesn’t live with his children picks them up one morning, very early, to take them on vacations. A boy and a teenage girl get in the car. The weather forecast in the tourist complex they’re heading says it will rain, rain, and rain again. So much water. These are the elements directors Ana Guevara and Leticia Jorge use in this first film made with two sets of hands, brains, and hearts (you can’t notice the first, but the other two, and we’re thankful for that). These are bittersweet vignettes about the dilemmas of growing up, yet it’s far from the gravity this premise could have carried. So Much Water speaks of the magic and loss we’re surrounded with every day when we pretend to be other people, when we either elude our responsibilities or honor them with ridiculous zeal; or when we hit the brakes one inch before crashing into a wall. The film doesn’t demand anyone to grow up; it barely hopes that when the rain stops we more or less know where we should put the umbrella back. MP | NaN | 102 | NaN | 1 | 5 | NaN | 184 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Néstor Guzzini, Malú Chouza, Joaquín Castiglioni | G: Ana Guevara, Leticia Jorge _x000D_\nF: María José Secco _x000D_\nE: Ana Guevara, Leticia Jorge, Yibrán Asuad / DA: Nicole Davrieux_x000D_\nS: Daniel Yafalián _x000D_\nM: Maximiliano Angelieri_x000D_\nPE: Agustina Chiarino _x000D_\nCP: Control Z Films, Bonita Films, Topkapi Films, Komplizen Films_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | EYDqOOoSmLY | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130402 | tanta_agua_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:39:41 | 2013-03-27 16:35:45 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 64 | 83 | NaN | NaN | My First Mountain | Mi primera montaña | NaN | Mein erster Berg - ein Rigi Film | 208 | 0 | 0 | 0 | 2012 | NaN | De todas las películas de montaña que hice, My First Mountain marca la conclusión de mis reflexiones cinematográficas sobre la Suiza rural y alpina. Crecí en la entrada a la Suiza Central, mirando al Monte Rigi. Desde que era chico, el imponente paisaje de esa montaña nunca ha dejado de impresionarme. En 1480, Albrecht von Bonstetten, decano de la Abadía de Einsiedeln, definió al Monte Rigi como el centro del universo. En My First Mountain intento explorar este centro en tanto testigo de nuestra era. El Monte Rigi también es la primera montaña para el pastor alpino Märtel Schindler. Al igual que sus ancestros, él creció, vive y trabaja en Rigi, que también es un destino turístico y recreativo muy popular. En esta película intento explorar dos corazones, el de un paisaje magnífico y el de un relato personal, para capturar una imagen del tiempo desde el corazón de Suiza._x000D_\n_x000D_\nErich Langjahr_x000D_\n | Of all the mountain films I have made, the film My First Mountain marks the conclusion of my cinematic reflections on rural and Alpine Switzerland. I grew up at the gateway to Central Switzerland with a view of Mt. Rigi. Since my childhood, the sweeping backdrop of this mountain has never ceased to impress me. In 1480 Albrecht von Bonstetten, Dean of the Abbey of Einsiedeln, had defined Mt. Rigi as the centre of the world. In My First Mountain I try to explore this centre as a witness of our time. Mt. Rigi is also the first mountain for the Alpine herdsman Märtel Schindler. Just like his ancestors, he grew up on it and lives and works on this mountain, a popular tourist and recreation destination. In this film I attempt to probe the heart, the heart of a magnificent landscape and the heart of a personal account, to capture an image of time from the heart of Switzerland. EL | NaN | 97 | NaN | 1 | 8 | NaN | 20 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | F, E: Erich Langjahr _x000D_\nS: Silvia Haselbeck_x000D_\nM: Hans Kennel_x000D_\nCP: Langjahr-Film_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | nRtNhR3koE0 | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130302 | my_first_mountain_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:40:23 | 2013-03-27 15:57:41 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 65 | 124 | NaN | NaN | Paisaje-Duración (Carretera / Rocas) | NaN | Duration-Landscape (Road / Rocks) | NaN | 73 | 0 | 0 | 0 | 2012 | NaN | NaN | NaN | NaN | 9 | NaN | 1 | 11 | NaN | 22 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130098 | 5150dc5925fa1_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:47:26 | 2013-03-27 19:55:59 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 66 | 124 | NaN | NaN | En el movimiento del paisaje | NaN | In Landscape Movement | NaN | 73 | 0 | 0 | 0 | 2012 | NaN | NaN | NaN | NaN | 9 | NaN | 1 | 11 | NaN | 22 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130098 | 513f6b9463b85_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:49:47 | 2013-03-27 19:21:19 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 67 | 124 | NaN | NaN | Costa da Morte (Work in Progress) | NaN | Death Coast (WIP) | NaN | 73 | 0 | 0 | 0 | 2013 | NaN | NaN | NaN | NaN | 20 | NaN | 1 | 11 | NaN | 22 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130098 | 5150dc40bd86e_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 17:51:07 | 2013-03-27 19:13:49 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 75 | 4 | NaN | NaN | AB | NaN | NaN | NaN | 13 | 63 | 0 | 0 | 2013 | NaN | Dos amigas en un pequeño pueblo de provincia. Arita y Belencha están en ese momento de la primera juventud en el que en muchas provincias argentinas el dilema mayor es “irse a Capital o quedarse”. Belencha planea irse; su perra tuvo cría y las dos caminan las calles del pueblo con una caja con los cachorritos, a los que ofrecen en adopción. Esa línea estructura mayormente esta película, una suerte de road movie caminada de calle a calle, por caminos casi siempre de tierra, con estaciones que son casas de los pobladores o los comercios. Ahí surgen desde historias de mascotas hasta intentos de levante. Las charlas en las casas siempre abiertas, los caminos, el atardecer en el campo: lo que se perderá al irse (sí, hay un novio que duda, pero no parece tan importante). La película de Iván Fund y Andreas Koefoed se centra en ese lazo de amistad al que se le impondrá la distancia, y se divide en dos partes. La más extensa es la más narrativa, que se sostiene de situaciones y diálogos creíbles, cálidos, con no poco humor. La segunda parte, la B, es más breve y reflexiva, y en 3D, que expande tanto los espacios como las emociones. Javier Porta Fouz | Two friends in a small province town. Arita and Belencha are in that moment when the dilemma for young people living in the Argentine provinces is “to move to the capital city or to stay”. Belencha is planning to go; her dog just had puppies, so the girls wander around town carrying a box with the puppies and offering them for adoption. That line is the basic structure of this film, a sort of road movie walked around the streets and dirt roads, where the stops are the people’s homes and shops. Stories about pets and even pick-up attempts will take place in those scenarios. The conversations in open houses, the roads, the country-side sunsets: that’s what she will lose if she leaves (yes, there’s a boyfriend who doubts, but he doesn’t seem so important). Focused on a friendship bond that’s imposed with a distance, Iván Fund and Andreas Koefoed’s film is divided in two. The longest part is the most narrative one, and is sustained by credible, warm, and funny situations and dialogues. The second part, the B part, is shorter, more reflexive, and in 3D, which expands both the spaces and the emotions. JPF _x000D_\n | NaN | 67 | NaN | 1 | 8 | NaN | 219 | 220 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Araceli Castellanos Gotte, Belén Werbach | G: Iván Fund, Andreas Koefoed, Santiago Loza _x000D_\nF: Iván Fund, Andreas Koefoed _x000D_\nE: Eduardo Crespo, Milton Secchi _x000D_\nDA: Araceli Castellanos Gotte, Belén Werbach _x000D_\nS: Guido Deniro_x000D_\nM: Trentemoller _x000D_\nP: Andreas Koefoed, Ivan Fund, Ivan Eibuszyc_x000D_\nPE: Iván Eibuszyc _x000D_\nCP: CPH:DOX, Frutacine, Morocha Films | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130021 | 513f6e8a5b2e3_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:04:16 | 2013-04-01 23:50:38 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 76 | 76 | NaN | NaN | Monuments | NaN | NaN | NaN | 180 | 75 | 0 | 0 | 2010 | NaN | NaN | NaN | NaN | 30 | NaN | 1 | 4 | NaN | 29 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130053 | monuments_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:05:03 | 2013-03-27 19:49:48 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 77 | 76 | NaN | NaN | Walk-Through | NaN | NaN | NaN | 180 | 75 | 0 | 0 | 2012 | NaN | NaN | NaN | NaN | 18 | NaN | 3 | 1 | NaN | 29 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130053 | walk-through_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:05:59 | 2013-03-27 20:16:06 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 78 | 4 | NaN | NaN | Antonio Gil | NaN | NaN | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | Lía Dansker entrega finalmente su exploración de uno de los territorios más quintaesencialmente argentinos que existen hoy en día: el culto al gaucho Antonio Mamerto Gil Núñez, o Gauchito Gil a secas. La directora trabajó durante muchos años en el registro de lo que pasa en Mercedes, provincia de Corrientes, en torno al santuario del Gauchito y las multitudes que lo visitan, y tomó la decisión de mostrar ese proceso por completo, su maduración, el paso del tiempo y hasta los cambios técnicos, en la película misma. Dansker utiliza imágenes de 2008 y registros mucho más actuales, pero siempre con el mismo dispositivo: una serie de lentos travellings que cubren el fenómeno en términos físicos y voces en off que dan cuenta de su dimensión espiritual. La directora está allí y está en serio, no de modo turístico, no de manera utilitaria, y por eso su retrato de ese país que no podemos no mirar cala muy profundamente, asombra, atrapa y asusta. Marcelo Panozzo | Finally, Lía Dansker delivers her exploration of one of the most quintessential Argentine territories today: the cult of gaucho Antonio Mamerto Gil Núñez –simply known as the Gauchito Gil. The director worked for many years documenting what happens in the town of Mercedes, in the Corrientes province, around the Gauchito’s sanctuary and the crowds that come to see it, and she took the decision of showing that whole process in the film itself, including its maturing process, the passage of time, and even its technical modifications. Dansker utilizes images from 2008 as well as more updated footage, but always through the same device: a series of slow travelling shots that cover the phenomenon in its physical aspect, and off-voices that evidence its spiritual dimension. The director is fully there but not in a touristic or utilitarian way, and therefore her portrait of that country we cannot help but see sinks in deeply, and it amazes, catches and scares us. MP | NaN | 95 | NaN | 1 | 11 | NaN | 221 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | G: Lía Dansker, Federico San Juan _x000D_\nF: Alejandro Nakano_x000D_\nE: Lía Dansker _x000D_\nS: Fernando Soldevila_x000D_\nM: Raúl Barboza _x000D_\nP: Lía Dansker, Alejandro Nakano _x000D_\nPE: Lía Dansker _x000D_\nCP: Yopará | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130040 | antonio_gil_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:32:02 | 2013-03-27 14:47:51 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 79 | 4 | NaN | NaN | Barroco | NaN | Baroque | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | Pleno invierno porteño. La existencia diletante de Julio parecería a punto de dar un giro radical cuando empieza una relación con Laura, una concertista de flauta barroca, y consigue un trabajo como vendedor en una librería. Sin embargo, bajo la superficie nada es tan sencillo y Julio no parece dispuesto a abandonarse a una vida de armonía: en secreto sigue manteniendo encuentros esporádicos con una antigua amante, en secreto se deja comer por los celos hacia Oscar, un músico maduro y seductor, ex pareja de Laura, y en secreto trama un robo que pronto se le irá de las manos. En todo este enredo de medias verdades e inconsciencias, parecería que el único apoyo para Julio es Lucas, su amigo, cómplice, confidente, la persona que lo banca en sus planes más descabellados. Incluso en la idea de crear juntos una fotonovela de ciencia ficción ambientada en una Buenos Aires desabastecida de gas en pleno invierno. Sólo tienen las primeras imágenes, pero el desarrollo está más que decidido. Y el título: Asalto a la fábrica de caloventores. Fran Gayo | Buenos Aires in the middle of winter. Julio’s dilettante existence seems to be at the verge of a defining turn when he starts a relationship with a baroque flute player named Laura, and gets a job in a bookstore. However, nothing is that simple under the surface, and Julio doesn’t seem so willing to surrender into a blissful life. He secretly and sporadically goes to see an old lover. He’s secretly jealous of Oscar, a mature and seductive musician Laura used to date. And he’s secretly planning a robbery that will soon get out of hand. In all this mix-up of half-truths and irrationality, Lucas seems to be Julio’s only friend, accomplice, confidant, and the one who will stand next to him in his craziest plans. Like the idea of creating a sci-fi photo novel set in a Buenos Aires that gets deprived of gas heating at the height of winter. They have only the first images but the next ones have already been decided. The title too: Assault on the electric heater factory. FG | NaN | 85 | NaN | 1 | 8 | NaN | 222 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Julián Larquier, Julián Tello, Walter Jakob, William Prociuk, Julia Martínez Rubio | G: Estanislao Buisel, Walter Jakob _x000D_\nF: Soledad Rodríguez_x000D_\nE: Ignacio Masllorens _x000D_\nDA: Fabiana Gallegos_x000D_\nS: Tomás Fronthot_x000D_\nM: Gabriel Chwojnik_x000D_\nP: Agustín Gagliardi _x000D_\nPE: Agustín Gagliardi, Estanislao Buisel _x000D_\nCP: El Rayo Verde_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130051 | barroco_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:34:45 | 2013-03-27 14:50:14 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 80 | 76 | NaN | NaN | A Study of Relationships Between Inner and Outer Space | NaN | NaN | NaN | 180 | 0 | 0 | 0 | 1969 | NaN | NaN | NaN | NaN | 20 | NaN | 2 | 11 | NaN | 32 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130017 | 51505a1e888ed_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:34:48 | 2013-04-03 21:25:30 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 81 | 76 | NaN | NaN | Berlin Horse | NaN | NaN | NaN | 180 | 0 | 0 | 0 | 1970 | NaN | NaN | NaN | NaN | 8 | NaN | 1 | 11 | NaN | 34 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130017 | berlin_horse_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:36:17 | 2013-04-03 21:26:03 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 82 | 76 | NaN | NaN | The End | NaN | NaN | NaN | 180 | 0 | 0 | 0 | 1970 | NaN | NaN | NaN | NaN | 18 | NaN | 2 | 11 | NaN | 36 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130017 | the_end_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:37:21 | 2013-04-03 21:26:23 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 85 | 4 | NaN | NaN | Beatriz Portinari. Un documental sobre Aurora Venturini | NaN | Beatriz Portinari. A Documentary on Aurora Venturini | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | Beatriz Portinari no sólo es el nombre de la musa inspiradora de Dante Alighieri, sino también el seudónimo con el cual la escritora platense Aurora Venturini se presentó en 2007 al concurso Nueva Novela, organizado por el periódico Página 12, en el que obtuvo el gran premio por su trabajo Las primas. Llena de picardía y gracia, vitalidad y misterio, con un gran carácter y lucidez, esta mujer que a lo largo de sus noventa y un años nunca paró de escribir, tuvo una vida totalmente ligada a la literatura y a la historia del siglo XX: conoció, fue amiga y trabajó con Eva Perón en un centro de minoridad; en su exilio se relacionó con Simone de Beauvoir y Jean-Paul Sartre, entre otros; y recibió un premio de manos de Jorge Luis Borges, entre muchas otras cosas. Para quienes no conozcan a Aurora Venturini, este documental (del que sus propios directores fueron echados) sirve como iniciación a su mundo y a su obra. Para sus seguidores, sin dudas, será una buena oportunidad de encuentro con este personaje maravilloso. Violeta Bava | Beatriz Portinari is not just the name of Dante Alighieri’s inspiring muse, but also the pseudonym Aurora Venturini used when she submitted a novel in the New Novel contest organized by Página 12 newspaper –which she won with her work Las primas in 2007. A cunning, vital, and mysterious woman with a strong character and bright lucidity, this woman who never stopped writing in 91 years lived a life deeply connected to literature and the history of 20th century: she met, befriended, and worked with Eva Perón in a child-care center; met Simone de Beauvoir and Jean-Paul Sartre in Paris; and received an award from Jorge Luis Borges, among many other things. To those who don’t know Aurora Venturini, this documentary (from which its own directors were kicked out of) is a good entry door to her universe and her work. To her fans, this will undoubtedly be a good chance to reunite with this wonderful character. VB | NaN | 76 | NaN | 1 | 5 | NaN | 223 | 224 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Aurora Venturini, María Laura Fernández Berro, Carlos Alberto Mancuso, Haydée Bambilli, Elba Alcaraz de Porro | G, P: Agustina Massa, Fernando Krapp _x000D_\nF: Manuel Abramovich _x000D_\nE: Pedro Barandiaran_x000D_\nDA: Nadia Martínez _x000D_\nS: Natalia Toussaint_x000D_\nCP: Ponchocine, Periplofilms_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130052 | beatriz_portinari._un_documental_sobre_aurora_venturini_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:49:05 | 2013-03-27 14:50:37 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 86 | 4 | NaN | NaN | Bomba | NaN | Bomb | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | Un joven de provincia llega a la gran ciudad, sube a un taxi y, a partir de ese acto sencillo, su vida cambia. No cambia en el sentido que imaginaba: tomar ese auto de alquiler (al-killer) y llegar a la entrega de un premio que le fue otorgado por un comic que dibujó dentro de su cuarto y de su piel adolescente, sino en otro bien distinto. El taxista lleva el coche cargado de explosivos y está decidido a volar por los aires junto a sus problemas, su pasajero y acaso algunas personas más. Ese es el material con el que Sergio Bizzio decide hacer su apuesta, que es de las fuertes: dos personas encerradas en un espacio reducido, en movimiento y en riesgo, dejando entrar apenas fantasmas del pasado, frustraciones, posibles planes de fuga, y sin permitir que nada salga. Todo se acumula dentro de ese taxi que, por la dinamita o la tensión, está llamado a explotar. Pocas veces se ha podido usar la definición tour de force para una película argentina, pero a Bomba le queda pintada. Era hora. Marcelo Panozzo | A young man comes to the city from the provinces, gets on a cab, and his life is changed from that simple action. It doesn’t change the way he was expecting to –he was hoping to take a car and get to the awards ceremony where he would be given one for the comic book he wrote in his teenage bedroom– but in a much different one. The cab driver has packed the car with explosives and is determined to blow out together with his problems, his passenger, and maybe some other people. This is the material Sergio Bizzio uses to place his bet, a large one: two people trapped in a reduced space, both in motion and at risk, letting in only some ghosts from the past, frustrations, and possible escape plans, and not allowing anything to get out. It all piles up inside this cab that is destined to explode, due to either the dynamite or the tension. Only a few times has the expression tour de force been adequate to describe an Argentine film –but it suits Bomb perfectly. MP | NaN | 75 | NaN | 1 | 8 | NaN | 225 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Jorge Marrale, Alan Daicz, Andrea Garrote, Guadalupe Docampo, Romina Gaetani | G: Sergio Bizzio _x000D_\nF: Nicolás Puenzo_x000D_\nE: Andrés Tambornino _x000D_\nDA: Matías Martínez_x000D_\nS: Fernando Soldevila _x000D_\nM: Blas Bizzio_x000D_\nP, PE: Lucía Puenzo_x000D_\nCP: Historias Cinematográficas_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | IQ_sid0DYXE | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130064 | bomba_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:53:16 | 2013-04-08 22:29:44 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 87 | 75 | NaN | NaN | Jean Vigo | NaN | NaN | NaN | 82 | 0 | 0 | 0 | 1964 | NaN | Un retrato en conmemoración de Jean Vigo, el padrino de todos los cineastas independientes, que consiste en fragmentos y relatos en primera persona de aquellos que trabajaron con el realizador, permitiendo una nueva reflexión sobre las películas y la personalidad del responsable de L’Atalante. Entre quienes aportan anécdotas y recuerdos sobre Vigo están Michel Simon, Dita Parlo, Jean Dasté, y su hija Luce. | A portrait in memory of the grandfather of all independent filmmakers, Jean Vigo, this film consists of excerpts and eye-witness accounts of those who worked closely with the director, enabling a new insight into the films and personality of the man who made L’Atalante. Among those offering stories and observations on Vigo are Michel Simon, Dita Parlo, Jean Dasté, and his daughter Luce. | NaN | 95 | NaN | 2 | 4 | NaN | 63 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Michel Simon, Albert Riera, Dita Parlo, Jean Painlevé, André Négis | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130195 | jean_vigo_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:54:10 | 2013-03-27 15:30:24 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 88 | 4 | NaN | NaN | Deshora | NaN | NaN | NaN | 13 | 52 | 162 | 0 | 2013 | NaN | El debut en largometraje de Bárbara Sarasola-Day (cuyo corto El canal compitió en el Bafici ‘05) presenta, mediante un gran despliegue formal, a Helena y Ernesto, una pareja con una relación de larga data en la que se percibe cierto desgaste. El matrimonio recibe en su casa de campo a Joaquín, un primo que Helena no veía hacía años y quien acaba de terminar un tratamiento de rehabilitación por problemas de adicción._x000D_\nDe inmediato, la presencia de Joaquín se percibe como un elemento desestabilizante. Hay en él algo inquietante que genera cierto desequilibrio en la vida de la pareja, y esto se traduce en un muy logrado clima de misterio que flota y recorre sutilmente las escenas. El joven parece despertar fantasías y el aire de campo comienza a cargarse hasta que finalmente aparecen los deseos más inesperados._x000D_\nLa inteligencia de la guionista y directora radica en presentarnos la idea de un triángulo y llevarnos a imaginar junto a sus personajes para luego sorprendernos: aquello que parecía evidente no lo es y justamente es en este punto en donde la película propone una reflexión acerca del deseo y sus vicisitudes, y en donde todo lo visto hasta entonces se resignifica. Violeta Bava | Featuring a big formal display, Bárbara Sarasola Day’s first feature-length film (her short El Canal competed in Bafici ‘05) presents Helena and Ernesto, a long-time couple that is apparently starting to wear down. In their country-side home, they welcome Helena’s cousin Joaquín, who she hadn’t seen in years, and has recently got out of rehab. _x000D_\nJoaquín’s presence is immediately perceived as a destabilizing element, and this translates into a very well-crafted atmosphere of mystery that subtly floats over and runs through the scenes. The young man seems to arouse fantasies, and the fresh rural air starts to feel heavier, until finally the most unexpected desires surface. _x000D_\nThe writer and director’s intelligence lies on the fact that it presents us the idea of a triangle and brings us to imagine it together with the characters, only to surprise us later: that which seemed evident is actually not, and it’s precisely in that point where the film suggests a reflection on desire and its mishaps, and everything we’ve seen so far gains a new meaning. VB | NaN | 102 | NaN | 1 | 8 | NaN | 226 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Luis Ziembrowski, Alejo Buitrago, María Ucedo | G: Bárbara Sarasola-Day _x000D_\nF: Lucio Bonelli_x000D_\nE: Catalina Rincón _x000D_\nDA: Marcela Gómez Montoya_x000D_\nS: Jésica Suárez _x000D_\nM: Álvaro Morales_x000D_\nP: Federico Eibuszyc, Jhonny Hendrix, Dag Hoel, Daniel A. Werner, Bárbara Sarasola-Day_x000D_\nPE: Federico Eibuszyc, Jhonny Hendrix, Dag Hoel_x000D_\nCP: Pucará Cine, Antorcha Cine_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | 0UMqhESusIk | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130107 | deshora_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:55:54 | 2013-03-27 15:00:09 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 89 | 75 | NaN | NaN | Jean Renoir le patron: La règle et l’exception | Jean Renoir, el jefe: La regla y la excepción | Jean Renoir, the Boss: The Rule and the Exception | NaN | 82 | 0 | 0 | 0 | 1967 | NaN | En junio de 1966, el equipo de Cinéastes de notre temps realizaba la que terminaría siendo una de las gemas de la colección: tres films inusualmente largos agrupados bajo el título Jean Renoir, le patron. Fueron realizados por Jacques Rivette y editados por Jean Eustache, dos cineastas que, más que nadie, realmente pensaban que Renoir era “el jefe”. La règle et l’exception es una sesión especial en la que Jean Renoir comenta las secuencias y analiza los personajes de La regla del juego y La Marsellesa para una clase de cine. | In June 1966, the team of Cinéastes de notre temps was making what turned out to be one of the gems of its collection: three unusually long films grouped together under the title Jean Renoir, le patron. They were made by Jacques Rivette and edited by Jean Eustache, two filmmakers who, more than anyone else, truly considered Jean Renoir to be the boss. La règle et l’exception is a special session in which Jean Renoir comments on the sequences and analyses the characters of La Règle du jeu and La Marseillaise for a film masterclass. | NaN | 95 | NaN | 2 | 4 | NaN | 64 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Jean Renoir, Charles Blavette, Pierre Braunberger, Marcel Dalio, Pierre Gaut_x000D_\n | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130194 | jean_renoir_le_patron__la_regle_et_lrexception_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:56:41 | 2013-03-27 15:29:56 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 90 | 4 | NaN | NaN | Habi, la extranjera | NaN | Habi, the Foreigner | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | La protagonista de la ópera prima de María Florencia Álvarez –cuyos cortometrajes tuvieron un paso destacado en diferentes ediciones del Festival– es una joven (la gran Martina Juncadella) que viaja desde alguna parte del interior a Buenos Aires, enviada por su familia, para entregar algunas artesanías. En ese recorrido se encuentra con un nuevo mundo: el musulmán. Repentinamente, se ve a sí misma en una serie de rituales que le son absolutamente desconocidos y –tal vez por eso mismo– fascinantes. Los nuevos objetos que adquiere y las prácticas que adopta la vuelven otra, y es ella misma quien elige el nombre de Habi para reafirmar su nueva identidad. Independiente, con trabajo y tomando clases de árabe, se enamora de un joven encantador (Martín Slipak). Pero es justamente en el terreno amoroso donde su nueva identidad entrará en conflicto y su construcción se desmoronará. Habi… es un notable film de iniciación en el cual la directora lleva a su protagonista a situaciones de total extrañamiento, a través de las cuales se articula una reflexión profunda y sensible acerca de la identidad como constructo cultural. Violeta Bava | The main character in María Florencia Álvarez’s first film –following several short films that were very well received in different editions of the Festival– is a young woman (the great Martina Juncadella) who travels from somewhere in the interior of the country to Buenos Aires, sent by her family to deliver some handicrafts. While doing so she’s faced with a new world: the Muslim one. Suddenly, she sees herself engaged in a series of rituals that are absolutely strange to her and –maybe for that same reason– fascinating. The new objects she acquires and the practices she adopts turn her into someone different, and she herself chooses the name Habi as a way to reinforce her new identity. She’s now independent, employed, and taking Arab classes, when she falls in love with a charming young man (Martín Slipak). But the ground of romance is precisely where her new identity will come in conflict and her whole construction will crumble down. Habi…is a remarkable initiation film in which the director takes her protagonist to some absolutely estranged situations that articulate a deep and sensitive reflection on identity as a social construct. VB | NaN | 92 | NaN | 1 | 2 | NaN | 227 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Martina Juncadella, Martín Slipak, María Luisa Mendonça, Lucía Alfonsín | G: María Florencia Álvarez _x000D_\nF: Julián Apezteguía_x000D_\nE: Eliane D. Katz _x000D_\nDA: Graciela Galán_x000D_\nS: Catriel Vildosola _x000D_\nM: Santiago Pedroncini_x000D_\nP: Lita Stantic, Hugo Sigman, Walter Salles_x000D_\nPE: Paula Zyngierman, Matías Mosteirín_x000D_\nCP: Lita Stantic Producciones, K&S Films, Videofilmes Produçoes Artisticas_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130161 | habi_la_extranjera_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:58:20 | 2013-03-27 15:16:31 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 91 | 12 | NaN | NaN | 5 Broken Cameras | 5 cámaras rotas | NaN | NaN | 169 | 111 | 82 | 166 | 2012 | NaN | El granjero palestino Emad tiene cinco cámaras, y cada una cuenta una parte diferente de la historia de la resistencia de su aldea contra la opresión israelí. Emad vive en Bil’in, al oeste de la ciudad de Ramala, en la ribera occidental. Con la primera cámara filmó las excavadoras que arrancaron los olivos de raíz en 2005. Un muro fue alzado en medio de las tierras de sus paisanos para separar a los palestinos de los asentamientos judíos en pleno auge. En los primeros días de resistencia contra los colonos judíos y los soldados israelíes, nació el hijo de Emad, Gibreel. Se suceden entonces escenas del desarrollo del infante, su transformación en un precoz preescolar, los numerosos actos de protesta pacífica y el sostenido avance de la construcción del muro. Simpatizantes de todo el mundo, incluso de Israel, ofrecen ayuda a la creciente resistencia, pero la situación se agrava, hay gente arrestada y aldeanos asesinados. Un intenso y poderoso documento personal sobre la lucha de esta aldea contra la violencia y la opresión. DOC Buenos Aires_x000D_\n | Palestinian farmer Emad has five cameras, and each one tells a different part of the story of his village’s resistance against Israeli oppression. Emad lives in Bil’in, west of Ramala, on the West Bank. With his first camera, he shot the bulldozers that tore out the olive trees in 2005. A wall was built in his countrymen’s land, in order to separate the Palestinians from the increasing number of Jewish settlements. Emad’s son Gibreel was born on the early first days of the resistance against the Jewish settlers and the Israeli soldiers. The film features the footage of the kid growing up to become a precocious school boy, the several peaceful demonstrations, and the steady progress of the construction site. Supporters from all over the world, including Israel, offer to help the growing resistance, but the situation gets worse, people get arrested, and villagers are murdered. An intense and powerful personal document about this village’s struggle against violence and oppression. DOC BsAs | NaN | 94 | NaN | 1 | 11 | NaN | 1 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | F: Emad Burnat_x000D_\nE: Veronique Lagoarde-Ségot, Guy Davidi_x000D_\nS: Amelie Canini _x000D_\nM: Le Trio Joubran_x000D_\nP: Christine Camdessus, Serge Gordey, _x000D_\nEmad Burnat, Guy Davidi _x000D_\nCP: Guy DVD Films, Alegria Productions, Burnat Films Palestine | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | OiRPFxp9OdU | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130006 | 5_broken_cameras_1.jpg | NaN | NaN | NaN | NaN | 514255f8f3374_logo.jpg | 2013-03-12 18:58:39 | 2013-03-27 14:37:34 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 92 | 75 | NaN | NaN | Jerry Lewis (partie 1) | Jerry Lewis (parte 1) | Jerry Lewis (Part 1) | NaN | 82 | 0 | 0 | 0 | 1968 | NaN | En 1967, Jerry Lewis dio una conferencia inolvidablemente alocada para los estudiantes de la Academia Real de Arte Dramático de Londres. Alrededor de la misma fecha, Robert Benayoun conoció al actor y director mientras este filmaba No suban el puente, bajen el río, de Jerry Paris, en los Estudios Shepperton. Entre días de rodaje, y “frecuentes de golf, béisbol y diversas orgías fotográficas”, el “terror de las chicas” responde una serie de preguntas sobre su modo de trabajo. | In 1967, Jerry Lewis gave an unforgettably zany conference to students at London’s Royal Academy of Dramatic Art. Around the same time, Robert Benayoun met the actor and director as he was shooting at Shepperton Studios Don’t Raise the Bridge, Lower the River by Jerry Paris. Between shoots, and “frequent rounds of golf, baseball games and a variety of photographic orgies”, the “Ladies Man” answers a series of questions about how he works. | NaN | 115 | NaN | 1 | 4 | NaN | 66 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | NaN | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130198 | jerry_lewis_partie_1__1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 18:58:42 | 2013-03-27 15:31:23 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 93 | 4 | NaN | NaN | Hawaii | NaN | NaN | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | El universo de obsesiones masculinas de Marco Berger migra con Hawaii, desde la capital hacia un bucólico pueblo de provincia. Eugenio pasa el verano cuidando la casa de sus tíos, que alguna vez fue suya, mientras busca inspiración para un guion que está escribiendo. Martín no tiene ninguna ocupación y se ofrece a trabajar en esa casa haciendo todo tipo de arreglos. Se conocieron hace tiempo, siendo chicos, y no se volvieron a ver desde entonces. _x000D_\nPero la relación se reestablece en base a engaños: Martín no tiene dónde dormir, pero le miente a Eugenio. Y Eugenio parece interesarse en Martín un poco más que como amigo. Poco a poco la relación entre los dos jóvenes se va construyendo sobre esa endeble estructura, que mezcla la camaradería con miradas furtivas, conversaciones sobre el pasado y el porvenir con abrazos emotivos. En ese juego, Hawaii (la isla paradisíaca) aparece como un futuro idílico y perfecto, pero ficticio. Durante ese verano y en ese lugar, Eugenio y Martín deberán decidir qué quieren del mundo real y tomar las decisiones más arriesgadas. Leandro Listorti | In Hawaii, Marco Berger’s universe of male obsessions migrates from the capital city to a bucolic province town. Eugenio spends the summer house-sitting for his uncles, in a house that was once his, while seeking inspiration for a script he’s writing. Martín has no job, so he volunteers to work in that house fixing all kinds of things. They met a long time ago when they were kids, and haven’t seen each other since. _x000D_\nBut the relationship reestablishes based on deceit: Martín has no place to sleep, but he lies to Eugenio. And Eugenio’s interest in Martín seems to go beyond friendship. Slowly, their relationship starts to build on that weak structure that mixes camaraderie with furtive staring, conversations about the past and the future, and emotional hugs. In that game, Hawaii (the paradise island) appears as an idyllic and perfect future, but a fictitious one. During that summer, and in that place, Eugenio and Martín will have to decide what do they want from the real world and take the riskiest decisions. LL | NaN | 106 | NaN | 1 | 11 | NaN | 228 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Manuel Vignau, Mateo Chiarino, Mercedes Quinteros, Luz Palazón, Manuel Martínez Sobrado | G: Marco Berger _x000D_\nF: Tomás Pérez Silva_x000D_\nE: Marco Berger _x000D_\nDA: Marco Berger, Pedro Irusta _x000D_\nS: Lucas Dentone_x000D_\nM: Pedro Irusta _x000D_\nP: Pedro Irusta, Marco Berger_x000D_\nPE: Pedro Irusta _x000D_\nCP: La Noria Cine_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130168 | hawaii_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 19:00:46 | 2013-03-27 15:18:47 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 94 | 75 | NaN | NaN | John Cassavetes | NaN | NaN | NaN | 82 | 0 | 0 | 0 | 1969 | NaN | Aun cuando originalmente el equipo de Cinéastes estaba más interesado en filmar a los titanes de Hollywood, también se interesó por el nuevo cine norteamericano. El episodio de Cassavetes fue filmado en dos partes a lo largo de tres años. La primera, rodada en 1965, encuentra al director durante el montaje de Rostros, mientras recuerda sus experiencias desgraciadas al intentar trabajar en Hollywood. La segunda parte, filmada en París en 1968, revela a un Cassavetes más decidido, luego de que el éxito de Rostros le señalase el camino a seguir. | While at first the Cinéastes team was more interested in capturing on film the titans of Hollywood, attention was also given to the New American Cinema. The Cassavetes episode was shot in two parts, over three years. The first part, shot in 1965, catches Cassavetes as he is editing Faces, and he recounts his unhappy experiences trying to work in Hollywood. The second part, filmed in Paris in 1968, reveals a more focused Cassavetes, as the success of Faces has shown him the direction in which he wants to continue. | NaN | 50 | NaN | 1 | 4 | NaN | 66 | 67 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | John Cassavetes, Jerry Howard, Gena Rowlands, George Sims | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130200 | john_cassavetes_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 19:02:56 | 2013-03-28 19:27:43 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 95 | 4 | NaN | NaN | La Paz | NaN | NaN | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | Drama luminoso de cámara. Ese podría ser el género de La Paz, una película en la que Santiago Loza vuelve a demostrar precisión y empatía, sólo que en dosis más altas que nunca. La historia es la de un hombre joven dañado, al que en el comienzo vemos saliendo de algún tipo de internación, y al que luego conoceremos buscando “La Paz”, en un camino en el que Loza nos impone el rol de acompañantes y no hay modo de emitir queja alguna sobre el sitio que nos toca. Nuestro “hombre roto” es hijo de la burguesía de provincias, parece haber crecido entre algodones hasta el borde mismo de la asfixia, y la ritualización de clase no parece ser el mejor camino hacia ningún tipo de paz. Ahí está el acierto de Loza: mostrar sin ira las trampas del confort y la asfixia del apego. Puntuar las ceremonias y sus lastres, la vacuidad de un día a día que hay que “llenar” de alguna manera. Pero el tono de La Paz es su verdadero triunfo: algo del orden de la paciencia, que en la vida y en el cine estaría siendo un bien escaso. Marcelo Panozzo | A luminous chamber-drama. That could be La Paz’s genre, and Santiago Loza’s film once again shows precision and empathy, only in higher dosages than ever before. The story features a damaged young man we will initially see as he comes out of some sort of hospitalization, and whom we later meet as he searches for “La Paz”, in a path in which Loza imposes us with the roles of companions and there’s no room for complaining about it. Our “broken man” is the son of a bourgeois family from the provinces. He seems to have been pampered to the verge of asphyxia, and the ritualization of class doesn’t appear to be the best way to achieve any peace at all. That’s the core of Loza’s good decision: to show with no anger the dark side of comfort and the asphyxia of attachment. To pin-point the ceremonies and its ballasts, the emptiness of an everyday life you have to somehow fill-up. But La Paz’s tone is its true triumph: it’s something related to patience, a rare feature in both cinema and life. MP | NaN | 73 | NaN | 1 | 8 | NaN | 229 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Lisandro Rodríguez, Andrea Strenitz, Fidelia Batallanos Michel, Ricardo Félix, Beatriz Bernabé | G: Santiago Loza _x000D_\nF: Iván Fund_x000D_\nE: Valeria Otheguy, Lorena Moriconi_x000D_\nDA: Adrián Suárez _x000D_\nS: Leandro de Loredo_x000D_\nM: Javier Ntaca _x000D_\nP: Iván Eibuszyc, Santiago Loza_x000D_\nPE: Iván Eibuszyc _x000D_\nCP: Frutacine, Morocha Films, Tres Sonido, Alta Definición Argentina_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | BcApKzR90fo | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130227 | la_paz_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 19:03:34 | 2013-04-01 23:51:25 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 96 | 12 | 114.0 | NaN | 74 m² | NaN | NaN | NaN | 46 | 75 | 0 | 0 | 2012 | NaN | Los documentales sobre problemas habitacionales y acceso a la vivienda suelen ser especialmente difíciles porque los procesos son largos. Proyectos, discusiones, adjudicaciones, trámites, construcción. Las directoras Paola Castillo y Tiziana Panizza (de quien se exhibe en esta misma sección su trilogía de Cartas visuales) resuelven las dificultades con una determinación clara: trabajo y más trabajo. Así, durante siete años siguieron todas las etapas del proceso. Las protagonistas centrales de 74 m² son las dirigentes sociales Iselsa y Cathy que, junto a ciento cincuenta familias que vivían en terrenos tomados, eligieron participar en un novedoso proyecto de vivienda social, el de crear un nuevo barrio integrado a una zona de residencia de clase media en Valparaíso. Debido al alto costo del terreno, el proyecto exigía que las familias participantes completaran sus casas con sus propios recursos. 74 m² es una historia de tenacidad, conflictos, peleas y no pocos desafíos. 74 m² se toma en serio su propio desafío, nada sencillo, y el esfuerzo y el rigor de las cineastas consiguen resultados tan precisos como atractivos. No son tantas las veces que este tipo de temas logran en el cine una fluidez narrativa semejante. Javier Porta Fouz_x000D_\n | Documentaries about housing problems are usually hard to make, because the processes involved are slow. Projects, debates, leases, red-tape, construction. Directors Paola Castillo and Tiziana Panizza (her trilogy Visual Letters is programmed in this same section) solve those problems with a clear determination: work, and more work. Therefore, they’ve spent seven years following every phase of the process. The main characters in 74 m² are social leaders Iselsa and Cathy, who lead a group of a hundred and fifty families that lived on occupied lands, and later chose to participate in a new social housing project that creates a new neighborhood integrated to a middle class residential area in Valparaíso. Due to the high costs of the land, the project requires the families to complete their houses using their own resources. 74 m² is a story about tenacity, conflict, fighting, and quite a few challenges. 74 m² is serious about its own, difficult challenge, and the filmmakers’ rigor and effort bring both effective and attractive results. It’s not that common for this kind of themes to be featured in cinema with such a fluent storytelling. JPF | NaN | 67 | NaN | 1 | 5 | NaN | 3 | 4 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Iselsa Barraza, Catherin Bernal, Iván Coñuecar, María Teresa Lerzundi | G: Paola Castillo, Tiziana Panizza _x000D_\nF: Pablo Valdés, Eduardo Cruz Coke_x000D_\nE: Andrea Chignoli _x000D_\nDA: Soledad Silva_x000D_\nS: Roberto Espinoza _x000D_\nM: Camila Moreno_x000D_\nP, PE: Paola Castillo _x000D_\nCP: Errante, Colectivo La Tribu, ITVS | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | 1QmUTa4jA4w | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130009 | 74_mB2_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 19:04:59 | 2013-03-27 14:38:12 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 97 | 75 | NaN | NaN | Conversation avec George Cukor | Conversación con George Cukor | A Conversation with George Cukor | NaN | 82 | 0 | 0 | 0 | 1969 | NaN | Luego del éxito de los primeros episodios de la serie, Labarthe y compañía viajaron a Estados Unidos, donde realizaron films con algunos de los gigantes de Hollywood sobrevivientes. Junto a su piscina, George Cukor reflexiona sobre La dama de las camelias y luego sobre Pecadora equivocada. El director habla sobre sus influencias, su abordaje de la dirección de sus actrices (Greta Garbo, Katharine Hepburn y Judy Garland) y su arte cómico. | After the success of the initial episodes of the series, Labarthe and company went to America where they made films with some of the surviving giants of Hollywood cinema. Besides his swimming pool, George Cukor focuses on Camille and then The Philadelphia Story. The filmmaker talks about his influences, his approach to directing his actresses (Greta Garbo, Katharine Hepburn and Judy Garland), and his art of comedy. | NaN | 42 | NaN | 2 | 4 | NaN | 66 | 67 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | George Cukor, André S. Labarthe | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130069 | conversation_avec_george_cukor_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 19:05:19 | 2013-03-27 19:10:42 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 98 | 4 | NaN | NaN | El loro y el cisne | NaN | The Parrot and the Swan | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | En su nuevo film, Alejo Moguillansky articula con osadía y destreza el mundo de la danza –más específicamente, la situación de un rodaje documental acerca de una serie de compañías de ballet– con una historia de separación y encuentro amoroso._x000D_\nTras ser dejado a través de una carta, comienza la separación del protagonista Loro: de a poco y a lo largo del film, su ex novia se va llevando sus cosas del departamento. Durante el registro de las compañías de ballet y del grupo de danza-teatro Krapp, Loro conoce a Luciana, una bailarina con quien entabla buena relación. Al tiempo, Luciana regresa con una panza de embarazada importante y la relación entre ellos crece. Un día, Luciana deja los ensayos y se va. Es ahí cuando Loro se lanza al baile, declara estar enamorado y decide ir a buscarla a San Francisco, Córdoba. _x000D_\nSin duda, hay aquí una mirada perspicaz que se interroga de manera profunda y original acerca de una serie de procesos: el creativo, en los ensayos de esas compañías de baile y teatro; el del trabajo, en un equipo de rodaje; los de desarrollo y crecimiento, en una mujer embarazada; el de la separación y, por fin, el del enamoramiento, en una pareja. Violeta Bava_x000D_\n | In his new film, Alejo Moguillansky baldly and skillfully articulates the world of dance –specifically, the shooting of a documentary about a series of ballets– with the story of a break-up and a romance._x000D_\nAfter getting dumped through a long letter, the separation of main character Loro begins. Slowly and throughout the film, his ex-girlfriend collects her things from their old apartment. During the record of ballet companies and the dance-theater group Krapp, Loro meets Luciana, a dancer with whom she establishes a good relationship. Shortly after that, Luciana shows up with a big pregnant belly, and their relationship grows. One day, Luciana quits rehearsals and leaves. That’s when Loro starts dancing, declares to be in love, and decides to go look for her in San Francisco, Córdoba. _x000D_\nThere is here an undoubtedly shrewd view that profoundly and originally wonders about a series of processes: the creative one in the rehearsals of the dance and theater companies, the work-related one in the filming crew; the one of development and growth in the pregnant woman; the break-up process and, finally, a couple’s process of falling in love. VB | NaN | 120 | NaN | 1 | 8 | NaN | 230 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Luciana Acuña, Rodrigo Sánchez Mariño, Walter Jakob, Luis Biassotto, Mario Gallizzi | G: Alejo Moguillansky _x000D_\nF: Paolo Girón, Fernando Lockett, Soledad Rodríguez, Tebbe Schoening_x000D_\nE: Alejo Moguillansky _x000D_\nDA: Leticia Bernaus_x000D_\nS: Rodrigo Sánchez Mariño_x000D_\nM: Piotr Ilich Chaikovski, Carl Orff, Prietto Viaja al Cosmos con Mariano, Fernando Tur, Gabriel Almendros_x000D_\nP: El Pampero Cine_x000D_\nPE: Alejo Moguillansky, Laura Citarella_x000D_\nCP: El Pampero Cine, Milkwood_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130127 | el_loro_y_el_cisne_1.jpg | NaN | NaN | NaN | NaN | 51424f9b63477_logo.jpg | 2013-03-12 19:05:38 | 2013-03-27 15:08:43 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 99 | 4 | NaN | NaN | Noche | NaN | Night | NaN | 13 | 0 | 0 | 0 | 2013 | NaN | Seis jóvenes amigos, en una casa de campo en Entre Ríos, escuchan las grabaciones que dejó Miguel, con quien cada uno de ellos tenía una relación distinta. Los sonidos del pasado establecen un juego con las escenas del presente; un presente extraño, en el que los tiempos y los espacios se funden. Es el tiempo del duelo, y es el lugar en el que Miguel pasó sus últimos días antes de suicidarse. Estos chicos de ciudad, llenos de vida y de deseos, se recortan en medio de la imponente y bella naturaleza. Los contemplamos transitar el presente y actualizar el pasado, mientras intentan reconstruir y entender qué sucedió. Brzezicki recurre al plano secuencia y, particularmente, al fundido de imágenes para indicar ciertas transiciones, estados de ánimo y atmósferas, un recurso del que se apropia hasta volver leitmotiv. Este trabajo sobre la imagen, junto al preciso y delicado uso del sonido, representa a un director con un acercamiento original, sensible y de gran plasticidad al uso del lenguaje cinematográfico. Sin dudas, un nombre para seguir muy de cerca. Violeta Bava_x000D_\n | Six young friends in a country house in Entre Ríos hear the recordings left by Miguel, with whom each one had a different kind of relationship. The sounds of the past set up a game with the scenes from the present day –it’s a strange present, in which time and space fuse together. It’s the time of mourning, and the place where Miguel spent his last days prior to committing suicide. These city kids, filled with life and hopes, are placed against a stunningly beautiful nature scene. We contemplate them as they move through the present and update the past while attempting to reconstruct and understand what happened. Brzezicki uses sequence shots and, especially, slow fade, in order to pin-point transitions, moods, and atmospheres, a resource he internalizes to the point of turning it into a leitmotiv. This work on the images, together with a precise and delicate use of sound, represents a filmmaker with an original, sensitive, and plastic approach to the use of film language. Without a doubt, this is a name to follow very closely. VB | NaN | 87 | NaN | 1 | 8 | NaN | 231 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Flavia Noguera, Nadyn Sandrone, María Soldi, Gastón Re, Pablo Matías Vega, Jair Jesus Toledo | G: Leonardo Brzezicki _x000D_\nF: Massimo Ruggieri_x000D_\nE: Filip Gsella _x000D_\nDA: Alexis Dos Santos_x000D_\nS: Leandro de Loredo _x000D_\nM: Ismael Pinkler_x000D_\nP: Leonardo Brzezicki, Ginevra Elkann_x000D_\nPE: Leonardo Brzezicki, Ginevra Elkann, Filip Gsella, Alexis Dos Santos_x000D_\nCP: Rewind My Future, Asmara Films_x000D_\n_x000D_\n | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130311 | noche_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 19:07:54 | 2013-03-28 16:35:46 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
| 100 | 75 | NaN | NaN | Busby Berkeley | NaN | NaN | NaN | 82 | 0 | 0 | 0 | 1971 | NaN | En 1971, Henri Langlois montó una retrospectiva impresionante de Busby Berkeley en la Cinemateca Francesa –la primera en Francia–, y este episodio fue realizado como complemento. Berkeley, cineasta norteamericano de los treinta y cuarenta, es considerado el maestro del musical. El film rinde homenaje a sus ballets coreográficos, que reflejan su obsesión con las formas geométricas, la naturaleza gigante de sus figuras y sus arabescos visuales. La entrevista es presentada por el experto televisivo Jean-Christophe Averty. | In 1971, Henri Langlois mounted an impressive Busby Berkeley retrospective at the Cinematheque Française –the first ever held in France– and this episode was made in conjunction with that. Berkeley, the American filmmaker of the 1930s and 1940s, is considered to be the master of the musical. The film pays tribute to his choreographic ballets, reflecting his obsession with geometrical forms, the gigantic nature of his figures, and his arabesque visual effects. Television show specialist Jean-Christophe Averty introduces the interview. | NaN | 60 | NaN | 3 | 4 | NaN | 66 | 67 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | NaN | Jean-Christophe Averty, Busby Berkeley | NaN | 1 | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | NaN | https://www.tuentrada.com/bafici/Online/default.asp?doWork::WScontent::search=1&BOset::WScontent::SearchCriteria::search_criteria=.bafici20130069 | busby_berkeley_1.jpg | NaN | NaN | NaN | NaN | NaN | 2013-03-12 19:08:16 | 2013-03-27 19:04:31 | 0 | 0 | 0 | 0 | NaN | NaN | 0 | 0 | 0 | 0 |
(*En el preview se muestran los primeros 100 registros de los archivos CVS, XLS y JSon)